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NEW YORK UNIVERSITY LIBRARIES
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'BRITISH SCHOOL OF ARCHAEOLOGY IN EGYPT
AND EGYPTIAN RESEARCH ACCOUNT
SEVENTEENTH YEAR, 1911
ROMAN PORTRAITS
AND
MEMPHIS (IV)
BY
W. M. FLINDERS PETRIE
Hon. D.C.L., LL.D., Litt.D., Ph.D.
F.R.S., F.B.A., Hon. F.S.A. (Scot.), A.R.I.B.A.
MEMBER OF THE ROYAL IRISH ACADEMY
MEMBER OF THE IMPERIAL GERMAN ARCHAEOLOGICAL INSTITUTE
CORRESPONDING MEMBER OF THE SOCIETY OF ANTHROPOLOGY, BERLIN
MEMBER OF THE ITALIAN SOCIETY OF ANTHROPOLOGY
MEMBER OF THE ROMAN SOCIETY OF ANTHROPOLOGY
MEMBER OF THE SOCIETY OF NORTHERN ANTIQUARIES
MEMBER OF THE AMERICAN PHILOSOPHICAL SOCIETY
EDWARDS PROFESSOR OF EGYPTOLOGY. UNIVERSITY OF LONDON
LONDON
SCHOOL OF ARCHAEOLOGY IN EGYPT
UNIVERSITY COLLEGE, GOWER STREET, W.C.
AND
BERNARD QUARITCH
n. GRAFTON STREET, NEW BOND STREET. W.
1911
CONTENTS
INTRODUCTION
SECT.
1. The sites of work .
2. Staff and publications .
CHAPTER I
THE BURIALS
3. The number of portraits
4. Conditions of burial
5. Treatment of the mummies .
6. Types of mummification
7. Grouping of plain mummies .
8. Grouping of portrait mummies
9. Direction of burial .
10. Quality of portraits
11. Decoration of the mummies .
CHAPTER II
THE PORTRAITS
12. Condition of portraits .
13. Changes after burial
14. Cutting down of portraits
1 5. Painted during life
16. Comparison with the heads
17. A rebandaged mummy .
18. Names on the mummies
PAGE
I
CHAPTER III
METHODS OF PAINTING
SECT.
19. Examination of method
20. Typical method in wax .
21. Variations from type
22. Distemper on canvas
23. Absence of family likeness
24. Forms of jewellery
CHAPTER IV
THE PERIOD AND PEOPLE
25. Indications of date ....
26. Fashions of women and men .
27. Women's portraits and mummy decoration
28. Men's portraits and mummy decoration
29. Dates of different styles
30. Varieties of race
CHAPTER V
THE WRAPPING OF MUMMIES
31. Rhombic bandaging
32. Gilt button decoration .
33. Red canvas covers
34. Gilt stucco busts .
35. The internal wrappings
36. Complete wrappings of a mummy
PAGE
9
9
10
II
II
ir
12
12
13
13
14
H
14
14
IS
IS
16
16
VI
CONTENTS
SECT.
37. Variations of wrapping system
38. Varieties of linen
39. Burial in ordinary dress ....
40. Dissevered bodies .....
CHAPTER VI
THE GROUPS OF TOMBS
41. The pyramidal cenotaphs
42. The enclosures of graves
CHAPTER Vn
OBJECTS FOUND IN THE CEMETERY
43. Girl with toys, pi. .xiv ....
44. Groups of figures, &c., pi. xv .
PACK
18
18
19
19
19
20
20
SECT.
45. Groups and sundial, pi. .vvi
46. Sculptures, pi. xix . . . ,
47. Limestone head and steles, pi. xx
48. Copies of inscriptions, pi. xxiv
49. The papyri, by J. G. Milne .
CHAPTER VIII
MEMPHIS
50. Excavations ....
51. Sculptures, pis. xxvii to xxx .
52. Jewellery, &c., pi. xxxi .
INDEX
HAUK
20
21
21
22
22
23
24
25
LIST OF PLATES
WITH PAGE REFERENCES
HAWARA
i. Portrait 36 ... . Frontispiece
PAGE
ii. Portrait 13, Hermione Grammatike . 8, 10
iii.
Portrait 6 .
•
10
iv.
Portrait 57 . . .
•
II
V.
Portraits 53, 59, 23, 34 .
10,
II,
13
VA.
Portraits 46, Cairo, 5, 9 .
8,
13
vi.
Portraits 40, 25,43, 42 •
10,
13.
19
VIA.
Portraits 29, 21, 30, 4
10,
II,
13
vii.
Portraits i, 27, 11, 60
. 8, 10,
II.
13
viiA.
Portraits 19, 18, 28, 52
10,
12
13
viii.
Portraits T T, O O, D D, H .
•
•
8
ix.
Portraits N, T,C, WW
X. Gilt mummies, inscription, head- and foot-
cases . . . . . 3, 8, 15, 19
xi. Wrapping of mummies ; wreaths ; foot-case
3. 15
xii. Mummy with painted cloth . . .15
xiii. Inscribed cloths, wrapping of mummies 14,15
xiv. Group of girl with toys . . . .20
XV. Groups of pottery figures . . . .20
TO THE DESCRIPTIONS
xvi. Group, sundial, baskets .
xvii. Tomb with cenotaph and pyramids
xviii. Chambers with groups of tombs .
xix. Limestone figure ; ox heads ; altars
XX. Limestone head and inscriptions .
xxi. Two mummy cloths ; list of wrappings
15, 16-18
PAGE
20, 21
• 19
• 19
. 21
12, 21
xxii. Plans of enclosures of graves .
xxiii. Plans of portrait graves ; sundial
xxiv. Demotic and Greek inscriptions
XXV. Pottery, Roman
xxvi. Catalogue of portrait mummies
MEMPHIS
xxvii. Scene of Ramessu 1 1 and Ptah
xxviii. Parts of scenes of Ramessu 1 1
xxix. Larger blocks of inscription .
XXX. Lesser blocks ....
xxxi. Jewellery and Coptic sculptures
xxxii. Map of sites worked
• 19
3, 20
15,22
. 22
8-12
23
23
23
33
24
VII
To appear early in igi2
THE HAWARA
PORTFOLIO:
PAINTINGS OF THE
ROMAN AGE
FOUND BY
W. M. FLINDERS PETRIE, F.R.S., F.B.A.
i888, 1911
TWENTY-FOUR COLOURED PLATES
Reproduced by the Photochrom Co.
And uniform with the four coloured plates in this volume
Issued at 505.
To subscribers of the British Sch/)ol, 42^.
ROMAN PORTRAITS AND MEMPHIS IV
INTRODUCTION
1. The work of the past season, 1910-11, lay in
four different sites, all within about ten to fifty miles
south of Cairo. Opposite to the village of Mazghuneh
Mr. Mackay found two pyramids, hitherto unpub-
lished. At Gerzeh, north of Meydum, Mr. Wain-
wright found and cleared a prehistoric cemetery. At
Hawara I succeeded in finding sculptures of the
Labyrinth, and opened many tombs of the xiith
dynasty. All of these results will appear in the
second volume of this year. Here we are concerned
with my work on the Roman cemetery of Hawara,
or Howareh as it should be more correctly called
from the wide-spread Arab tribe. The excavations
which I made there in 1888 were this year renewed
and completed. The natives in their ceaseless search
for nitrous earth — or sebakh — had removed much of
the soil which formerly covered the cemetery ; and
so the graves that remained were far more accessible.
As portraits were being found here by casual digging,
Sir Gaston Maspero desired me to clear the site.
This work was done entirely by well-trained men
from Quft, who camped on the spot. The new diffi-
culty in Egypt now is that the boys do not care to
be troubled to work ; in the Fayum they appear to
be their own masters, and it is not until they have
to shift for themselves that they find the need of hard
work. Actually the men had to do much of their own
basket-work, carrying the stuff out after cutting it,
which was a great waste of trained labour, and hindered
our progress. Our other work described in this volume
was at Memphis, where sculptures were again found ;
fortunately boys are eager and work well there.
2. This season I had the advantage, during most
of the time, of the companionship of Mr. James Stop-
ford, who assisted with his engineering experience in
the work and specially in the packing. Also Mr.
Angelo Hayter gave much useful work in the drawings,
while I was fully occupied with the direction of men,
accounts, photographing, and cleaning the portraits.
The discoveries of this year have led to a fresh
arrangement of publication. When I worked at
Hawara twenty-three years ago, it was only possible
with difficulty to get some collotype reproductions
issued. Now colour-work has advanced so much, that
the portraits can be efficiently published. Accord-
ingly this volume contains four coloured plates
besides photographs of thirty-two other portraits.
To issue the whole of the colour plates in the usual
volumes would be impracticable, as these already
here cost nearly as much as an ordinary volume.
The bulk of them are therefore issued separately in
a Portfolio, and those who wish for the whole text
and reproductions of the portraits will find them in
this volume and the Portfolio taken together. This
forms the only issue of facsimiles of classical por-
traiture on an extensive scale ; it is much to be
hoped that the other examples preserved in museums
will be published similarly both in method and cost,
so as to be available for study and comparison.
CHAPTER I
THE BURIALS
3. The portraits discovered upon the mummies
at Hawara this year are in direct continuation with
those which I unearthed in that cemetery in 1888.
A few have been found there in the interval between
the first and second part of my work : but even in
that cemetery the portraits are so rare that they do
not reward work on a small scale. Our work was
restricted to regions where portraits might probably
be found, but on the average each digger only
obtained one in six weeks, excluding those examples
whose condition made them worthless. Out of about
a hundred mummies of the same age, found buried
in the same way, there is only one portrait pre-
served, and perhaps one more decayed or destroyed
portrait.
For purposes of reference it is needful to keep to
I
THE nURIALS
the original register marks in the order of discovery,
as too much confusion would be caused by a com-
plete re-numbcring. The marks on those of 1888
follow the alphabet A-Z, then AA-/,Z, and AB-AZ,
BA-BG, 81 in all. The marks of 191 1 follow num-
bers from 1 to 65. Of the 1S88 portraits 33 were
publislied in photograph ; in Hawara there are 27
that were distributed, of which Nos. i, 2, 3, 7, 9, 10,
12 in Frontispiece and pi. x are in the National
Gallery, where also are 4 others not published then ;
in Kaltun are 6 of those that were kept at the Cairo
Museum. Of these portraits 10 are published in
colour this year, and 9 republished in photograph.
As the Hawara volume has been long out of print and
rare, I regret that the scattering of that collection
makes it impossible now to trace them all, or to collect
a compleie republication. Most of the best of them,
however, will be found in our issues of this year.
Of the 191 1 portraits, 4 are given in colour here,
pis. i-iv ; 23 are given here, with one of 1888, in
photograph, pis. v-vii a ; and 14 are in colour, together
with 10 of 1888, in the separate Portfolio, see
page viii. Thus 41 of this year's are published, leaving
24 unpublished, which are in various stages of decay ;
many of these were so completely rotten that nothing
could even be moved from the ground, but only a
note made of the direction, sex, and method of wrap-
ping, where such details were still visible. The totals
now published are therefore
Of 1888 .
Of 191 1 .
Totals
10 coloured 9 plain = 19
18 „ 23 „ =41
28
60
a total of 60 in this volume and the Portfolio. In
references the plate number will be given after each
portrait number, so as to enable it to be readily found,
and P will be put after each number in the Portfolio.
For the table of register marks, plate numbers, and
museums, see pi. xxvi. For the general appearance
of the mummies with gilt heads see pis. x, xii, xiii,
xiv ; for the portrait mummies see pi. xi.
4. The mode of burial of these portrait mummies
differs from that of earlier times. In place of being
buried singly, and in chambers, these portraits were
usually buried in groups and always in open graves
filled with earth. In place of having a chapel, monu-
ment, or tablet over them, they were in every case,
but one, buried in plain ground without even a brick
top over the grave. Several large groups of brick
graves in tomb enclosures were uncovered, as shown
in pis. .xvii, xviii, xxii, but not a single portrait was
ever found with such burials. Only in one case was
there a sto;ie chamber, surrounding a pit which con-
tained portraits. These were Nos. 2, 3, 4, with one
gilt and one plain mummy, five in all, packed in
a pit 79 X 55 inches, as shown in pi. .x.xiii. The
chamber round the pit was 117 x 87 out, 89 x 62
inside ; only one course of stone remained, and the
upper part of the enclosure may have been of brick.
In all of the other burials of portraits, about fifty,
there was no monument or mark visible above them,
and they could only be found by searching the whole
ground.
5. The explanation of the richest mummies being
thus buried without mark, is seen in the condition
of them. Many of them had been much injured by
exposure during a long period before burial. The
gilt-bust mummies had often been knocked about,
the stucco chipped off, sometimes the nose bashed in
by a fall, the gilding dirtied, fly-marked, caked with
dust which was bound on by rain. The portraits
show the same exposure. The paint has flaked off
in many ca.ses, as 9, v a ; 42, vi ; 27, vii ; and also
many which are in too bad a state to reproduce.
Others were caked with dirt, and required long
cleaning to remove it; on 25, vi some fluid had run
down which preserved the paint from change, and
has kept it permanently lighter, even after cleaning.
The state of the foot-cases shows the same exposure.
Most of them were broken in by blows as in xi, 3,
sometimes almost destroyed, often dirty. On the
feet of one mummy the wrapping had been used by
children, who scribbled caricatures upon it, pi. xiii. i.
Others have had the portrait chopped or broken in,
as 54 P, S3, V, 34, V.
Thus every sign shows that the mummies, both
with and without portraits, had stood exposed for a
long time before burial. The conclusion we may
draw is that they were kept around the atrium of
the house, where children were taught their writing
lessons, where the dust settled and occasional rain
beat in upon the figures, and where in the cleaning
of the house the footcases were gradually knocked
to pieces.
This explains the contradiction that the mummies
prepared with the greatest cost were buried in the
roughest manner. They were kept in the house so
long as there was any interest felt in them, perhaps
for a generation or two. Then, when the persons
had passed out of memory, and when the mummies
had become soiled and broken, they were sent off to
TYPES OF MUMMIFICATION
the cemetery, often as many as half a dozen at once.
A plain pit was dug, as small as might possibly hold
them ; they were shoved in roughly, often two head
to foot, another jammed in hard at the side, and a
second layer like this repeated, in one case head up
and feet up in an old tomb well. No one cared for
them by that time, and there was no interest in
placing a stele or even a grave mound over them.
The brick graves and cenotaphs were only put over
those plain mummies which were buried at once,
while the survivors still had an interest in them.
These customs explain the old story about draw-
ing a mummy round the hall at a feast. Such a
practice would not agree with what we know of
earlier customs ; but were the mummies kept in the
house, it would be quite likely that they would be
brought forward to appear in the great religious
feasts, and have offerings placed before them, instead
of the descendants going out to the cemetery to make
offerings on such occasions at the tombs.
6. The different types of mummies in the Greek
and Roman period evidently succeeded in the follow-
ing order of introduction, as I pointed out in Hawara,
though each type probably continued in use over
some later stages.
1. Thin head and foot-cases of papyrus or cloth,
covered with dark blue over the wig, revived
in Ptolemaic times from a xiith dynasty
type.
2. Stout cases of carton nage covered with painted
figures, as in pi. x, 4, 5.
3. Stout cases of cartonnage with thick plaster
masks and modelling.
4. Such cases enlarged with broad chests, arms,
and drapery, as pi. x, i.
5. Such bust pieces with a red wreath in the
hands, x, 2.
6. Thinner and poorer imitations, as pi. xii.
7. Canvas painting of a face inserted in a stucco
bust piece.
8. Canvas painting of whole bust, with red wreath
in hand, as YY in Portfolio.
9. Canvas portraits without arms, as 12, 13 in
Portfolio.
10. Portraits on wooden panels, as most of those
here.
The linking of these various types together precludes
our taking them in a different order of derivation, and
the general indications of period agree with this.
7. Thus recognising the various types, we may
proceed to note the grouping of these in the burial
pits, remembering that there is no evidence that these
mummies buried thus together were prepared at the
same time. On the contrary, where half a dozen
mummies of adults were buried together it is probable
that at least two generations are represented, perhaps
three. Hence these groups contain examples pre-
pared fifty years or more apart. There were not in
Egypt, as in England now, many persons without
children ; hence the mummies were probably nearly
all in direct ancestry of the householder.
We will first note the earlier burial groups with-
out portraits. A large square building of brickwork
was divided into four compartments by cross-walls,
see plan, pi. xxiii, 7. The whole building has been
cased with limestone slabs, since removed by Roman
lime-burners, and the corners of it were formed by
blocks of masonry still in position. Each compart-
ment was filled up with brick filling, evenly laid in
loose courses, and undisturbed in the lower parts
when we opened it. In the south-east corner were
three mummies, all with heads to south ; the eastern,
A, a woman with gilt face, then a child, C, and
another adult, B, in plain wrappings. Beneath these
were D, gilt face, head N, under A ; E, similar under
C ; F, plain mummy, head N, under B. Beneath
those were G, infant, head N, under D ; H, head south
under F, both plain. In the south-west corner were
three mummies, j, K, L, plain with bandaging and
wreaths. In the north-east were twelve plain burials,
of which four lay partly under the walls, and were
therefore earlier than the building. In the north-
west corner was a much earlier cartonnage burial of
about the xxiiird dynasty, with the legs only of
another body over it. Being beneath undisturbed
filling, this broken burial must be older than the
building. It is strange that some pieces of bright
glazed bowls, of yellow black and green run roughly
together, were also beneath the brick filling and must
therefore be Roman, though hitherto they would have
been considered Arabic.
Another large group is shown pi. xxiii, 6. These
all lay in a chamber on the surface of the ground
and had not been intentionally buried, but only
placed in the chamber, which had a parabolic roof
fallen in. A and B had plainly-wrapped heads with
si.x layers of rhombic bandage with gilt buttons
(as X, 3 ; xi, 3) over the bodies. These were placed
in what had been the passage leading to the chamber.
C had a painted foot-case, but the body was irregularly
tied round and the head plainly wrapped. D was
a unique example, unfortunately too rotten to
THE BURIALS
remove whole ; the footcase is shown in pi. xi, 7,
evidently a cast from the feet of a living girl,
coloured pinkish yellow with black sandal straps.
Large gilt twisted anklets with lions' heads are on
the ankles ; and the rhombic bandaging of four
layers had very large gilt buttons in the hollows,
with others across the chest, and ten rows on the
ankles as seen in the photograph. (Univ. Coll.
Lond.) The head cartonnage was knocked to
pieces and decayed. E had a gilt head-piece but
no foot-case ; rhombic bandage of four layers, but no
buttons. The layer of bandage under the top was
green. F was a unique burial with cartonnage head-
piece unusually large, having a wreath of loose leaves
of gilt canvas and green berries between them, in the
hands a red wreath and a candle. The rhombic
bandage was in five layers with gilt buttons, and two
rows of buttons on the chest. The foot-case was
gilt. (Cambridge.) c. had a usual gilt head-piece
with scenes of the gods on it, and a rhombic bandage.
Another group was of three wedge-faced mummies,
type xiii, 4, bandaged to a sharp straight edge down
the face ; heads, two to south, one north. Beneath
these were two others, heads north, and a gilt bust
mummy holding a candle, with rhombic bandages
five layers deep, buttons, and a gilt foot-case with four
captives on soles. All the lower with heads to north.
In another pit similarly there were two gilt-faced
mummies, of fine work, one having a painted cloth
with figures over the body. With these were two
wedge-faced mummies with rhombic bandages in six
layers.
8. We turn now to the group of mummies found
with the portraits, xxiii, 2 ; Nos. 2, 3, 4 were with
one fine gilt mummy, head N., and one plain, head S.
xxiii, 3 ; Nos. 5, 6, were with three gilt heads all N.,
and two wedge-faces N. and S. xxiii, 5 ; Nos. 14 to
17 (all decayed) were with a gilt face, head W., and
a wedge-face, W. No. 24 was with a gilt face, head
W. No. 36 was with a gilt face. No. 46 was with
two gilt faces, heads N. and S.
xxiii, 4 ; wedge-faces were found with Nos. 7, 8,
9, a wedge-face, head S., and a plain wrapped mummy
head S. No. 10 had two wedge-faces. Nos. 12, 13
were with four wedge-faces, all heads to W. No. 27
had a wedge-face, head E. No. 28 was with one, head
W. Nos. 49, 50 were with a wedge-face, head E.
In a few cases only plainly-wrapped mummies
were with the portraits. No. i had immediately over
it a plainly-wrapped body of a woman, head to E.,
of which not a single joint remained articulated, and
most of the bones were out of place ; this must have
been wrapped up as bare bones, even the pelvis and
vertebrae being all dissevered. There were three
inches of sand between the bodies, wliich shows that
they were buried separately. No. 30 had a plain
muminj' with it, head S. ; No. 38 likewise; and
No. 52 had a plain mummy with head W.
These associated plain mummies had their heads
to
N., 6 ; E., 3 ; S., 6 ; W., 4
while the portrait mummies with them lay
N., 6 ; E., 3 ; S., 10 ; W., 10
The conclusion .seems to be that the men who
buried them thought more of laying the portrait
mummies to S. or W. than the plain mummies, which
might lie any way.
9. We now come to the general question of the
direction of burial of the portrait mummies. On first
examining the matter, there seemed to be an im-
probable result that men and women were buried
usually in different directions. On further taking the
style of the portraits into account, the explanation of
this appeared to be due to a difference in period.
As it is generally agreed that these portraits belong
to the Roman age, and that that was a time of
continuous decline in art, it follows that — apart from
individual variations — the finer portraits will be
earlier than the poorer. No doubt different artists
varied greatly, and there might be some poor ones
early and superior ones later, just as there was a fine
engraver at the Alexandria mint even in the reign of
Gallienus ; but, on the average of all, the better
portraits were the earlier. I therefore classed the
portraits as good (22), medium (11), and poor (12).
On dividing these according to the direction of the
head there was no great difference of good or poor
except in the south.
Men.
N. E. S. W.
Good . .3 — 46
Medium . . — — 21
Poor . .21 — 5
Women.
N. E. S. W.
2241
125 —
2 1 — I
The result is much the same with men and
women, and in all directions except south. Putting
then the other three directions together, we find
Head to south.
Otherwise
Good .
. 8
IS
Medium
• 7
4
Poor .
—
12
QUALITY OF PORTRAITS
S
Here it is clear that all the portraits with head
to south are good or medium, and not a single poor
portrait lay in that direction ; whereas in other
directions there were nearly as many poor as good.
We must then conclude that all southerly burials arc
in the earlier part of the period of portraits.
The direction of the burials and the sex could be
distinguished when the portraits were often too
much injured to consider their quality. Hence the
amount of material is larger on these two points than
when including the portraits. We find the direction
of the heads to be
N. E. s. \v.
Men . .7 I 6 14
Women . .6 511 3
This shows a large preponderance of women to
the south, nearly a half, and .similarly half of the men
to the west. We can hardly suppose that the sex
was considered at these rough burials. The con-
clusion must be that, as the southerly burials are the
earlier, women were more often pai?tted in the earlier
part of the period when southern burial was the rule,
and men mostly in the later period when western
and other positions were common.
10. Another comparison is in the quality of the
portraits found singly and those found in groups.
Good. Medium. Poor.
Portraits singly . . 10 6 8
Portraits in groups 17 7 6
Here the group portraits are much better in
quality. This is due probably to two causes ; the
groups are likely to belong to richer families who
could afford many portraits, and such riches were
diminishing during the period through the impoverish-
ment of the country, and so groups would be mainly
earlier ; also the richer families could afford better
artists for their portraits.
Looking now at the relation of the portrait to the
preparation of the mummy, we see that the foot-case
is related to the quality of the portrait.
Good. Medium. Bad.
Plain feet ... 19 9 4
Gilt feet ... 4 2 6
Here the mummies with plain feet have far better
portraits than those with gilt feet.
The same is .seen regarding the use of gilt buttons
on the bandaging.
Good. Medium. Bad.
Without buttons . . 13 7 4
With buttons . . 12 2 5
Here those with buttons seem rather worse.
II. Let us now compare the southern burials,
which we have seen to be all early, with the use of
buttons :
Without buttons
With buttons .
Heads S. Otherwise.
• 13 IS
4 16
Here the earlier class with heads south seldom
have buttons ; those in other directions have buttons
oftener than not. Hence the earlier viummies liave
plain feet and no buttons ; the introduction of gilt
footcases and buttons were later additions to the
portrait system.
The number of layers of the rhombic wrappings
shows a slight decrease ; those with good and medium
portraits average 62 layers, with poor portraits 5-3
layers.
As we have seen that women were more often
painted in the earlier and men in the later period,
we can check this against the conclusions about the
fittings of the mummy.
Women. Men.
Foot-case gilt
. 6
24
9
15
Buttons gilt
. 10
20
10
13
These results agree that the earlier stage was
mainly of women's portraits, with few foot-cases and
not usually with buttons : while men's portraits have
foot-cases and buttons more often.
The red-painted cloth covers, without rhombic
bandaging, are all with portraits of good quality, two
found in 1888 and two in 191 1. Also two resined
cloth covers Nos. 59 and 60 both have good portraits,
and demotic inscriptions. Hence the whole of the
cloth covers seem to belong to the earliest stage of
the portraits.
The general conclusions are that the earlier stage
of portrait mummies is that of the covers of red
cloth, or resined cloth, or else rhombic bandaging :
that women were more often painted in the earlier
than the later stage : that the burial with head to
the south was usual in early times but not later : that
in later times gilt foot-cases and buttons were intro-
duced on the portrait mummies from the Egyptian
system already existing. The historical conclusion
is that the Graeco-Roman population adopted mum-
mification, with the portrait attached, and gradually
added the ordinary Egyptian foot-cases and button
ornaments at a later time.
THE PORTRAITS
CHAPTER
THE PORTRAITS.
12. These portraits are mostly painted with
coloured wax, laid on as a solid body of the same
tint, and not washed over with additions of different
colour. The details and method of painting will be
dealt with in sect. 20, here we consider the changes
which the portraits have undergone.
The most perfectly preserved were buried in
thoroughly drj- ground with fine sand upon the face.
Sometimes a cloth was laid over the face ; but such
material was generally injurious, owing to its readil)'
carrying moisture and to the amount of air space in
its texture. Fine drj- sand is the most preservative
of all materials.
A frequent cause of injury to the portrait was
from the oil used in preserving the mummy. In
one which I opened the whole body was saturated
with oil, and the wrappings likewise. This oil soaked
through the wood panel and darkened a part of the
colours ; this may be seen in the coloured plate iii
and in the photographs 59, v, 46, v a, 21 and 4, via,
and 1 8, vii a. Some have been rendered almost
invisible by the brown stain of the oil. On the
whole, the 1888 portraits were less injured by oil.
As they were found farther out from the pyramid of
Hawara it seems likely that they were later as a
whole than the 1911 portraits ; the experience of the
damage to the earlier portraits, or a cheapening of
the process, may have led to less oil being used in
later times.
During the keeping of the portrait in the house,
it suffered much in some instances from flaking, as in
9, v a, or 27, vii, due to exposure to weather. The
mere accumulation of dirt upon it is easily cleaned
off. Both water and spirit can be used freely for
rubbing these wa.x surfaces without any injury.
Ether or benzine would be the only solvents for the
wax paint. Heavy blows and cuts with a chopper
are found upon some of the portraits ; these may
partly have been due to accidental falls in the house,
or careless handling in putting in a cart to go to the
cemetery, or throwing out at the grave. No. 54 I'
has had violent blows cracking the wood, and 53, \',
found with it, has been chopped with a sharp edge.
It is possible that this was done to prevent the theft
of the portraits when sent out of the house. No. 34, v
has also had part of it knocked in.
Sometimes a coat of varnish was put over the
portrait, as on No. 5, v a, when it turned dark red
and was difficult to rcmo\'c with spirit. In other
cases a cloth was put over the face with melted resin,
which required long softening and scraping to remove
it, as on 11 viii.
13. The changes after burial were the more
serious. About a third of the portraits buried have
been mainly or entirely lost by decay. This was
specially the case in the lower ground N.W. of the
pyramid, where the rains ran down from the higher
mounds. Ground which is perceptibly damp has
in no case preserved a portrait. Sometimes white
ants have destroyed portraits, or eaten a part as in
No. I, vii.
The lesser changes are the flaking loose of the
paint from the wood, due to slight decay and
shrinkage of the wood. In such cases it is some-
times impossible to tilt the panel without the paint
falling off. There is no preservative so satisfactory
as flooding over with melted paraffin wax ; this
must be hot enough to penetrate the cracks freely,
but not so hot as to melt up the ancient wa.x paint.
All surplus can be removed by scraping down and
gentle melting. If the flakes of paint become .shifted
out of place, the waxed face can be slowly melted
by hanging a hot iron just clear of it, and then the
paint can be pressed down in position by a wet
finger, and the surplus parafiin squeezed out. Any
dirt on the face, which cannot be removed safely
before pai'affining, can be scraped away with the
surplus paraffin, without any risk of shifting the film
of ancient paint. This rewaxing with paraffin has
been objected to by those who have not seen it, as
changing the texture of the surface. But such is not
the case ; the details of brush marks or modelled lines
are as distinct after as before rewaxing, unless the
surface has been overheated and melted ; and the
paraffin wax is the only preservative which will not
alter in course of time, which is colourless, which
retains the brittle paint by a tough coat, and which
makes the whole damp-proof If there be an excess
it can be removed at any time by gentle warmth.
Where the changes have been less, and the colour
is only brittle and liable to slight crumbling, then a
thin coat of paraffin has been added, by spreading
over the face and rubbing into the cracks a soft
butter of paraffin and benzine, about half and half
As the benzine evaporates, the paraffin can be gently
melted into the cracks, and any surplus removed.
This is equivalent to varnishing, for removing dullness
and porosity of the .surface due to decomposition,
and rendering the colours clear and bright. No
CUTTING DOWN OF PORTRAITS
colour has in any instance been added to any of the
portraits, not even in parts where it could not cause
any error.
The only change after burial, in some cases, has
been a decomposition of the surface of the wax,
while the lower parts of the colour are in good
unchanged condition ; this was probably due to
damp. In such cases no solvent would remove the
decomposed surface, as it is less soluble than the
unaltered wax below. The only way to clean it is by
scraping off the brittle coat with a sharp knife, while
watching the action with a strong magnifier. Thus
a dark brown coat was removed from 58, P, and a
white coat from 8 P, without any erasure of the
minute ridges of the paint ; the surface structure
constitutes the essential finish of the work in 8.
None of the processes of preserving or cleaning the
portraits has effaced any details of the colour or
structure.
14. A much debated question has been whether
these portraits were painted during life or after
death. The opinion of Sir Cecil Smith from the
artistic impression was that many of them had been
painted from memory solely for the purpose of
putting on the mummy {Hawara, 41).
A point of view which has not been fully
examined before, is that of the condition of the
portraits before they were put upon the mummies.
In many instances it was obvious that they had been
very roughly cut down. See the notch left in cutting
the round top of 40, vi, or the false cut across the
paint on the top of 38, P, or 11, vii. Unfortunately
those reproduced from the National Gallery portraits
of 1888 only shew the limit of the card mount, as
the authorities would not allow those portraits to be
taken out of the frames and bared for reproduction ;
those portraits (lettered in the Portfolio) are therefore
not in evidence, but others of the i888 portraits on
pis. viii, ix, all shew the tops roughly cut down,
except one (c, ix), where a gilt frame made the
embalmers keep it whole. After carefully examining
all the panels of the present portraits I can say that
in every case they have been reduced at the top and
sides since being painted ; not a single painting
was made on a panel adapted for placing on the
mummy.
The explanatory example is No. 27, vii, where
the side pieces (and the scraps cut off from the
corners not here shown), were found beneath the
portrait in the wrappings of the mummy. This
mummy has altogether a strange history, as stated
further on in sect. 17, but the essential facts here
are the following. A square panel, not cut down,
was painted with a good portrait, 27, P. This portrait
was afterwards discarded. The panel was reversed,
and a portrait of a different man painted upon it,
27, vii. Later, the sides were split off as shown in
the photograph, and the corners cut down ; and in
this state — similar to all the other mummy panels —
it was fixed upon the mummy. Here we see the
original state of all the panels ; they were almost
square, this one being I4'92 and i5'20 high, and
1305 inches wide (the splay shown is due to dis-
tortion in photographing) ; and then it was cut down
to 9"9 and 9'4 wide, only two-thirds of the original
size, and the corners cut away to fit the rounded
top of the mummy.
15. Why should these panels have been thus
roughly trimmed, instead of being made of the right
size at first ? It would have been much easier for
the embalmer to have had panels made with evenly
rounded tops, instead of always needing to hack
them down without proper tools. The explanation
is in the framed portrait which I found in 1888. In
one tomb the portrait was not attached to the
mummy, but was put by its side, in an Oxford frame
with crossed corners, having a cord still attached to
hang it up, and a groove for glass over the picture
{Hawara, pi. xii). The frame is of the square pro-
portions which we have seen to belong to the original
size of these portraits.
This is positive proof that square portraits were
hung up in the house. Such moveable portraits
are indicated by an Athenian epitaph, saying that
" her painted portrait we have dedicated in the shrine
of Pallas whose servant she was ; but to her body we
have given an earthly tomb"; and a decree at Patmos
honours a man by a "painted likeness" (Smith in
Hawara, 41). The account of the portrait of Christ
at Edessa is given in the Syriac and Armenian
versions of the Doctrina Addai, claiming to be
directly extracted from the library of Edessa. This
at least shows that portable likenesses were familiar,
and that copies of such were usual. Further, the
Carpocratians had pictures painted in various colours,
even gold and silver, which represented Pythagoras,
Plato, Aristotle, and Christ from a picture said to
be painted under Pontius Pilate ; this is stated by
Epiphenius of Cyprus in his Refutation of Heresies.
I owe these references to Miss Eckcnstein.
As all of these Hawara portraits have been cut
down from a square form, we are bound to regard
8
THE PORTRAITS
them as having been originally painted to be hung
in the house. After the death of a man his portrait
would be sent along with the body to the embalmer,
and was then cut down to the size and form required
to fit the mummy. Hence these were all life portraits,
and not painted from memory after death. On one
found at Gharaq (_Kdgar Catalogue xvi) there were
memoranda of the features written on the back ; but
that docs not at all imply that it was painted after
death, but only that after the first sketch in black out-
line the colours were blocked in elsewhere before the
final sitting to complete the portrait. Of course it is
possible to say that because square panels were used
for life portraits therefore as a matter of habit they
were used for death portraits ; but as there is no
trace of evidence of that, we are bound to conclude
that the death portrait was at least very unusual, as
the embalmer never cut his panel to the required
shape before it was painted.
F"urther, the interest of keeping the portrait in
the house was so strong, that in some cases the
portraits were removed from the mummies before
they were buried. In a group burial of Nos. 33, 34,
35, of which 34 is on pi. v, there were also two
mummies of which the portraits had been removed
before burial, leaving an empty space amid the
wrappings. Much attention had been given to one
of these, as when its wrappings had become ragged
from long exposure, a second cloth had been added
over the whole with an oval opening to shew the
portrait, and two demotic inscriptions were written
upon it. These, given on pi. xxiv, 3 and 4, record
two different persons. No. 3 is along the body, and
is read by Sir Herbert Thompson as " Arsinoe
daughter of Herakleitos the woman of Hawara " ;
while No. 4 is across the ankles, reading " Premiom
(the lake man) son of Huy, Hawara." The place
across the ankles is that of inscriptions on two other
mummies, and that inscription is therefore probably
the original, while Arsinoe may have been the widow,
whose name was added as owning the mummy. See
sect. 48.
In another instance a mummy had a gilt stucco
bust and border round the face. Within this a
portrait had been inserted and fastened in with
resin : but it had been removed before burial, only
leaving a resined surface. The mummy lay with
head to west, and was much rotted.
16. The portraiture of these paintings will be put
in a clearer light when we can compare them with
the actual heads of the persons. Most of the
mummies which were not kept entire with the
portraits had the heads removed and sent to Prof.
Macalister at Cambridge, marked C in the table
pi. xxvi. Of these 7 are reproduced in colour,
and 10 in photograph. When the heads have been
cleaned, and restored to their natural fullness by
Prof Macalisttr's process, it will be possible to
compare the portrait with the actual person, and
to estimate the relation between them, and the defects
of each mode of presentation.
17. The history of mummy 27 is strange. It was
first bandaged in the usual rhombic bandaging, and
had portrait 37, P upon it. This is peculiar, as being
one of the rare cross-grained portraits, of which there
is only one other instance this year, 46, \ a, and
one in 1888 marked OO, pi. viii. Later, this portrait
was removed, and split to pieces. The pieces were
pushed into the wrappings, and so put out of sight.
Then the whole mummy was rewrapped with a fresh
rhombic bandaging. Portrait 27, P had been re-
versed before it was trimmed down, and another
portrait painted on the back, 27, vii. This portrait
was then cut down, and inserted over the head of the
mummy in the second bandaging, and the pieces
which were trimmed off it were stuck into the wrap-
pings. As the portrait 27, vii had been painted
while the panel of 27, P was full square, it is probable
that it was done during life and hung up. The
reversal of the panel has then no connection with
the rewrapping of the mummy to which the first
portrait 37, P belonged. It seems as if the embalmer
took a complete portrait mummy, which he had
either stolen when sent to be buried, or which re-
mained on his hands unpaid for, and he had then
broken up and hidden the portrait, and rewrapped
the mummy with the third portrait 27, vii turned
outwards.
18. In a few cases the names of the persons have
been preserved. The most important of these is that
of Hermione the Grammatikc, or teacher of the
classics, whose name and title are painted in white
on the ground of the portrait pi. ii. This is the only
instance known of a mummy or portrait of a woman
teacher ; it now appropriately rests in the library of
Girton College.
Another name, written in ink on the bandages,
is shown on pi. x, 3. It is of "Heron son of
Ammonios, . . . losophoros " ; the last word should
be the title or profession, and it is tempting to see
in it the Philosophoros or bearer of Philosophia ;
much as ApoUonios at the toll-gate on the Euphrates
METHODS OF PAINTING
9
said that he was accompanied by Sophrosyne, Dikai-
osyne, and other virtues {Pkilostratos, Life of
Apollonios i, xx).
It is noteworthy that two out of four names
preserved to us are of teachers. It seems as if they
were retainers of the families, whose names it was
thought needful to add because they might be for-
gotten sooner than those of ancestors.
Another name, also without a portrait, is that of
Demetria, who died aged 30. This has no connec-
tion with the painted mummy which is on the same
plate, pi. xii.
The most striking figure of all is that named as
Demetris aged 89 ; the portrait is 51, P, and the cover
is of red-painted cloth with gilt figures, drawn on
plate, pi. xxi.
A finely modelled stucco head, gilt, with a chest
robed like that of the figure pi. x, i, (but with bare
arms and serpent bracelets,) had inscribed on the
head band " Arsous years 25 . . . sei kyria." The
body was covered with an elaborately painted cloth
with figures of gods. (Manchester.)
CHAPTER III
METHODS OF PAINTING.
19. The discussions in the past on the method
of painting in wax have not led to a general agree-
ment ; this may be partly due to an endeavour to
accommodate the description given by Pliny of the
methods followed in Italy, so as to explain the work
found in the very different climate of Egypt. In
Egypt coloured wax can readily be melted in the
sun during most of the year, and would often be
near melting point in the shade ; in Italy such
conditions would be so rare as not to influence the
method of using it. Hence it seemed well on this
opportunity to examine the question afresh with the
present collection. I have carefully searched each
picture with a magnifier to observe all traces of the
method of work. This proves to be so far uniform
that we may describe the type as a whole, and then
state what examples depart from it. Such is always
the best way of dealing with a mass of details, as it
clears the ground for students and enables the results
and exceptions to be grasped at once, without each
reader having to try to reduce a mass of notes to
order. The conclusions are closely the same as those
of Sir Cecil Smith and myself previously {Hawam^
18, 19, 38).
20. The type of the method of painting may be
stated as follows. A panel of wood, of smooth
straight grain, free from knots, was cut to about
13 or 14 inches wide and 15 inches high, with the
grain upright. This was the size kept for framing ;
and later on it was reduced by splitting off about a
third of the width, and truncating the top corners,
when the picture was trimmed to be placed on the
mummy.
On this panel the subject was outlined in thin black
wash, the eyes and mouth being shown. This is
most clearly seen where the paint has weathered
away, as on 27, vi ; and traces of the outline can often
be found on bare wood left between the background
and figure, or at the edges of the hair.
The grey background was then brushed on, always
quite liquid, with a free brush, sometime so thinly
as to leave small resist-bubbles on the wood which
has not taken the paint. The background does not
run over the outline, but keeps outside of it ; the
brush always ran round the outline, though the
wider parts were usually brushed over with horizontal
strokes, or sloping. The ground is never stubbed on
with stiff colour.
The drapery was put on with liquid colour and
a free brush, like the background. The brush was
wide enough to expand over about f inch when
pressed ; colour was never rubbed on the wood, but
flowed freely from a moderately full brush, leaving
hair strokes all over it.
The flesh was treated differently, and never shows
free brush marks. It was laid on in a creamy state
by a tool about ^ inch diameter with a soft rounded
end. The most obvious tool for this would be a
small brush solidified with wax, and dipped into
melted wax to take up some clinging round it. Such
a tool would account for every form of the surface
that I have observed, and there is no trace of a flat
tool with hard edge such as a palette knife, or other
metal instrument. There can be no question that
the capacities of work with a stiffened brush must
have been very familiar to anyone painting with
melted wax ; the stiff brush would be only too often
a trouble, and how to make use of it would be the
first thing to learn in such a process. We may
reasonably conclude that as the common use of the
free brush is proved by the drapery, so the capabilities
of the solid brush would be tried fully before adopt-
ing some entirely different tool. One of the most
important examples is No. 37, P. On the flesh
below the neck may be seen three different layings
lO
METHODS OF TAINTING
of colour ; there is the broad wavy stroke, zigzagging
down, a free adaptation of the parallel strokes one
below the other ; there is the patting by a broad
wet surface, such as the side of a brush, to leave more
paint sticking on the surface, broken up by the
clinging contact of the cream)' paint ; and there arc
rarely some strokes which just resolve into hair
streaks, as from a solid brush which had slightly
melted at the end. We do not need to suppose that
the brush was quite hard throughout, but only that
it was solid in the main, so as to prevent the hairs
spreading out, while the hair marks of the tips would
be hidden by the full flow of the creamy paint.
Were the brush used quite free, trusting only to the
full colour hiding the lines, we should often find
thinner parts showing hair marks, and the quantity
of flowing colour would make the separate strokes
run together. On the contrary each touch of
the tool is quite distinct, though they may be
parallels only J or ^ of an inch apart, showing that
the colour was in a stiffish cream, and that the laying
point was quite narrow. The idea that it leaves is
that of a brush about ^ inch diameter, barely solid
with wax, the end melting as dipped into creamy
wax, which clung over it and drained down to the
point.
The hair of the portrait is usually curly, and put
on by a small brush with free liquid colour, in narrow
lines of J to v.^^ of an inch. It sometimes does not
cover the wood, which can be seen between the lines,
proving that no ground colour was laid first.
In parts there is seen the use of a hard point, to
break up outlines, and render them less hard, by
a zigzag scratching through the colour. Probably
this would be done by a pointed end to the brush
handle ; to lay down the brush and pick up a separate
tool would not be handy when working in a material
which stiffened while in use.
21. Now that the type is defined the small
variations from it may be noticed.
1, vii. Drapery in long creamy strokes, not showing
brush hairs.
2, P. Hair laid on creamy, as the flesh.
3, P. Cross hatching on flesh.
4, vi A. Drapery laid on creamy with .solid brush.
5, V A. Grey ground laid on after flesh and hair.
Hair laid creamy.
6, pi. iii. Thin smooth colour, no brush strokes
visible in drapery on ground : on flesh, fine hatching
with very thin colour, red, light flesh tint, and grey.
8, P. Flesh thickly laid with uniform wax, a
dark brown dry priming coat below it. The most
remarkable example of detail in the modelling of
the mouth and chin.
lo. Thin colour laitl smooth.
12, P. Outlines in broad black lines on the canvas,
left showing for shadows. Blue-grey background
laid after the flesh. Flesh smooth, canvas hidden
by colour.
13, ii. Canvas showing through colour. Hair
lightened with brown-grey touches on black.
19, vii A. Ground thin, rather creamy, no brush
lines. Elaborate hatching of thin colour, light red,
yellow and white, on the flesh, to give texture. All
parts thin and smooth.
21, vi A. Ground worked creamy zigzag down
the outline.
23, V. Thick pine panel, square, not cut down.
Gilt lips, wreath, earrings and necklace, cut out of
gold foil. Ground colour laid up to half an inch
from the edges of the panel, bare wood beyond.
Hair laid thin with brown lights on it.
28, vii A. Drab background brushed down below
shoulder drapery, and not close enough to outline of
face, but patched later than flesh. Hair laid with
half-solid brush, often showing bristles.
31. See below.
34, V. Flesh painted thin with brush lines curving
in different directions ; hardly any creamy colour or
solid brush used.
37, P. Cross-grained panel. Eyes, etc., have
flaked off owing to splitting up the panel ; traces of
black outlining on wood beneath.
40, vi. Dark grounding under flesh. Hair laid
over flesh. Gold leaves of wreath outlined by point
through wax, a brittle (stucco ?) body put on and
gilt Hard point used for eyebrows and joggling
down edge of shoulder.
42, vi. Flesh thin and smooth, no traces of thick
cream or of brush-work. Brush-marks on neck and
drapery.
43, vi. Flesh thin except on high lights. Drapery
smooth without brush-strokes. Very thin red bands
upon it.
45, P. Sides somewhat cut down, but still ii|
inches wide. Background patched round outline
with lighter tint.
46, v A. Cross-grained panel. Sides very roughly
chipped away to reduce width. Background laid
with solid brush and creamy paint, exactly like the
flesh ; the only instance of this. Red robe swept
by the brush over the background and flesh. Upper
DISTEMPER ON CANVAS
II
part entirely discoloured with oil. Peculiarly soft
vague forms of features.
49, Drapery thin, no brush-lines. Black priming
on lower part, but not under face.
50, P. Neck, loose brush-work. Bare wood left
between curls of hair.
51, P. Grey ground very thin, laid on after flesh.
Hair black curls and white, curls over them. Drapery
thin and laid on very liquid, with no trace of hair-
lines of brush.
53, V. Brush-lines on neck.
56, P. Panel cut originally for box-making. Two
pairs of grooves scored on back, each pair 094 apart,
and 9"3 between pairs. Three holes between each
pair of grooves about 2^ inches apart.
57, iv. Careless at edges, gaps of wood left and
overlaps of paint. Drapery carried across flesh in
two places.
59, v. Grey ground brushed thinly across. Flesh
thin and smooth, only creamy in high lights.
60, vii. Drab priming very thin under drapery.
22. No. 31 is painted in an entirely different
method. A square of canvas covered with a thin
stopping of stucco was the base for the picture,
which was painted in distemper. When put on
the mummy the edges and corners were turned back
to reduce the size. It was buried in somewhat damp
ground, so that the cloth laid over the portrait had
become a soft brown mass sticking to the face, and
the canvas of the portrait had scarcely any firmness.
A first attempt to remove the top cloth showed that
all the colour and stucco would come away with it.
The whole of the front about li inches thick was
therefore removed from the head, by sawing through
the rotten canvas, which made hardly any resist-
ance. The front was then soaked with hot paraffin so
as to sink in about ^ of an inch. The back layers
could then be peeled away, and so the turned-in
edge of the painting was found in passable condition.
Lastly, by careful scraping, the adherent face-cloth
could be removed without destroying the paint below
it. The portrait at last exposed is of course much
altered in tone by the paraffin, but it could not
otherwise be preserved at all ; its original texture can
be seen on the part turned back. That appears most
like a modern pastel drawing, with a matt surface,
entirely of body-colour. It is likely that this was the
method followed in the great Greek paintings, which
were so readily portable, and were hung upon walls.
These paintings could hardly have been upon wooden
panels, considering their size ; nor could they have
been on marble slabs (like the outlines from
Herculaneum) owing to the weight. The transport of
large numbers — as from the sack of Athens to
Rome — shows that they were safely moveable. Here
we have an example of a method which agrees with
the known conditions ; and it is more than a
coincidence that the style of this picture in the
features, the head-dress, and the whole aspect, is far
more Hellenic than the other portraits, which are
Italian in feeling.
23. It is remarkable that there is so little like-
ness between the portraits which were found buried
together. In the group 2, P, 3, P, 4, vi A there is no
resemblance, nor is there any apparent connection
between the pairs 12, P, 13, ii ; 18, vii A, 19, vii A ; 8, P,
9, vA ; 20, 21, vi A ; S3, 34, v ; 49. So, P. Possibly 8, P
might be the son of 9, vA, and certainly 53, v is the
daughter of 54, P, with whom it was found, and both
portraits are by the same artist.
As a question of style it appears that 38, P and
56, P are by the same hand, as shown by the treat-
ment of the hair. 42, vi and 43, vi are obviously
alike in style, and in the method of their painting.
Two portraits of girls, 29, vi A and 21, vi A are the
same in the dressing of the hair, full and smoothed,
with a central boss, and a curl down before the ear,
and in the accentuation of the mouth and a line of
dark red below the lower eyelid ; moreover they wear
the same jewellery, earrings, beryl and gold necklace,
and gold chain with pendant, though 29 has two other
necklaces also. They might be of the same family,
and certainly seem done by the same artist. The
hair and the form of mouth and earrings would point
to the same hand in 54, P, whom we also recognise
otherwise in 53, v. The same hair is seen in 18, vii A,
with necklaces similar — though not the same — as in
21 and 29 ; the mouth differs, but this detail, as well as
the nose, is like that of 53, v, which from other reasons
belongs to this group. I should therefore incline to
attribute 18, 21, 29, S3 and 54 all to the same artist.
A strange resemblance in method is seen between
one of the best portraits 6 iii, and one of the worst
19 vii A. Both are painted in thin colour, and have
a free use of very thin hatching of other tints on the
flesh. The painter of 19 must have imitated the
method of the artist of 6, and seems therefore not far
removed in date. Cross hatching is certainly early,
as it occurs on the canvas bust portrait (Hawara, 17)
which is the transition from the gilded busts.
24. Regarding the various types of earrings it
does not seem that they were altogether successive,
12
THE rERIOn AND THE PEOPLE
but were partly in use at the same time. In Hawara,
p. 19, the order of introduction stated agrees with
what we now find as the order of extinction, namely
ball, hoop and then pendant; but the dating there
given should be extended somewhat earlier. The
bar with two pendant pearls often occurs in I'ompeian
paintings, and must therefore be as early as 79 .■v.D.
W'c may examine the types on the ground of the
quality of the portraits, or on the ground of the
successive styles of hair-dressing described in the next
chapter on the dating.
Classing the portraits by quality we find : —
B.ill-earring. Hoop. Pendant.
Good • . . S 3 2
Medium . . i o 5
Poor . . . o I I
Here the ball-earring is always with good painting,
the pendants generally with inferior work.
Classed by the style of hair (which may belong to
later dates than in Rome) : —
Ball. Hoop. Pendant.
Flavian . -lib) i (2) 2 (3)
Traj.-Hadrian .1 i (2) 3
Antonine. . o (i) (i)
Commodus .0 o i (3)
The numbers in brackets are including those pre-
viously illustrated in Hawara.
The conclusion here again is that the ball-earring
is only found in the earlier class, and the pendant
increases in use later.
Regarding the necklaces, including those in
Haivaya, the ball-earrings have no necklace in three
instances, a plain gold chain in five instances, and
only in one instance two rows of pearl and beryl. A
crescent pendant is on the necklace in five instances,
and never with any other type of earring.
The hoop-earrings have generally with them the
simpler forms of beryl necklace.
The pendant-earrings go with the more complex
and gaudy forms of necklaces.
The earlier portraits therefore have only plain
gold necklaces, and often crescent pendants ; the stone
necklaces and more complex ones came later.
CHAPTER IV
THE PERIOD AND PEOPLE.
25. The indications of date connected with these
portraits are indirect and seldom exact. The data
for previous styles are : —
(A) Wedge-faced mummy before papyrus of
Tiberius 14-37 A.D. {Hawara, 16).
(B) Gilt-faced head-piece with I'lavian name {Ha-
wara, 16).
The data for the portraits are : —
(C) The I'ollius Soter series of the age of I ladrian,
Louvre {Hazvara, 16).
(D) Papyrus copy of register of 127 A.D. on No. 18.
(E) Inscription of Kephalion (pi. xx, 7), older
than Nos. 7, 8, 9.
(F) Style of hair-dressing of women.
(G) General style and hair of men.
All of these are vague as to date. (A) The wedge-
faced mummy might have been long buried before
the papyrus was written, or the papyrus might be
a century old in rubbish thrown over the mummy.
(B) The gilt-faced head-piece of Titos Flavios De-
metrios might be as early as 70 A.D., if the man died
immediately on taking the imperial name ; or he
might as an infant be named after Titus, 80 A.D., and
have lived to 140 A.D. or more. This head-piece is
probably before the portraits, but it might be coeval
with them. (C) The portraits of the family of Pollius
Soter, who was archon at Thebes under Hadrian,
give a fairly dated point of about 140 A.D.
(D) The papyrus containing copies of official
registers of 127 A.D. was folded up, and placed under
the border of portrait 18, vii A. The papyrus might
be of 127 A.D., and the portrait painted long before,
and only buried then. Or the registers are more
likely to have been searched and copied at a later
time, perhaps 200 A.D. ; and the papyrus might have
been kept for a generation later. (E) The inscrip-
tion of Kephalion (pi. .xx, 7) was turned face down
and built into the foot of a wall which was apparently
of the same age as the burial of Nos. 7, 8, 9 adjacent.
The omega with the open base occurs under Nero
{Illahun xxxii), Vespasian (///. x.xxii), Titus {Milne
Hist. 187) and Antoninus {Miine 194). The m form
appears as early as 24 B.C. {Milne 183) and onwards
in the first century {Milne 184, 185 ; Koptos x.xvii).
It was known in Greece as early as Alexander.
26. (F) The style of the hair-dressing of the
women has been principally studied by Mr. Edgar
{Catalogue. . . . Graeco-Egj'ptian . . . Portraits, pp. xiv,
xv), and he bases the dating upon that. A portrait
could not be of an earlier date than when a certain
style which is shown in it came into Imperial fashion.
But fashion might linger in the Fayum long after it
changed in Rome, where the main styles were about
forty years apart. There were no fashion plates, and
FASHIONS
13
it must have been from the elderly wives of high
officials that remote provincials copied the style. A
girl born about 80 A.D. would be brought up in Rome
9S-IOO A.D., with Flavian hair-dressing of rows of
little curls. She might well be fifty when her hus-
band got his province, and she held her receptions
which set the fashion, 130 A.D. Her style copied by
provincial girls of fifteen would be continued by them,
and they would be painted some twenty years later
or more. Thus the Roman fashion started about 80
might appear on portraits of 150 A.D. or seventy
years later, and the style of hair-dressing would easily
lag fifty years behind that of the Empresses.
(G) The men's fashions of shaving, or of beards
(which were begun by Hadrian), of thick hair, or
close-cropped heads (which began with Severus
Alexander), are more likely to be contemporary with
Rome. The Emperor was a very familiar figure on all
the coins, and the Imperial statues were in every town.
And besides the personal imitation of the Emperor,
there is much in the style and air of the painting
which harmonizes with the manner of the ruler. We
only have to see how many of the xviiith-century
portraits were like George HI, or how Austrian
portraits resemble Francis Joseph, to perceive the
style set by the sovereign.
The beginning of the portraits is set by Mr.
Edgar to the Claudian fashion. But the only two
which he refers to this (Nos. 33265, 33268) have only
simple waved hair, such as any woman might natur-
ally wear ; and are without any of the sharp furrows
and fussy ear-bunches which he quotes as the Claudian
type on a gilt head (33126). The evidence seems
rather to be that the gilt head is Claudian, and the
portraits are a simple dressing, like 13, ii here, which
would be kept by anyone not adopting the Flavian
elaboration. These three may well be merely a quiet
style, without any deliberate fashion.
The first distinct fashion is that of rows of small
curls all round the forehead, as in the Flavian age
5, va; Cairo, v A; 31, P; SO, P ; Si. ?;? 59. v here,
and 55 unpublished.
Ne.xt appears the hair smoothly parted away to
either side, with sometimes a knob of hair at the top ;
this is referred by Mr. Edgar to the age of Trajan
and Hadrian, though the upright diadem of Plotina
Matidia or Sabina is never copied. Of this style
are 18, vii A ; 21, vi A ; 29, vi A ; 53, V ; 54, P ; and
44. Perhaps the close wavy hair of 23, v should be
referred to Julia Domna as a comparison. No others
appear to be as late as this.
27. The relation between these styles and the
quality of the portraits already listed should be
noted ; and also the relation to the gilt foot-cases
and buttons :
Flavian. Traj.-Had. Later.
Good ... 7 o o
Medium . . . o 5 o
Poor . . . o I I
+
—
+
_
+
_
Gilt feet .
I
S
2
4
1
0
Button in rhomb
. 2
4
.3
3
I
0
Rows of Buttons
I
5
I
5
Thus we sec that all the portraits with Flavian
hair are good, and those of Trajan — Hadrian or
later are medium or poor. This is a very sharp
grouping, on grounds which are entirely independent
one from another. Only one Flavian has gilt feet
and buttons, 50, P ; but they are on nearly half of the
later mummies.
28. Now turning to the men's portraits, I have
considered general style in relation to the Emperors
as well as precise fashion. The groups appear to
be:
Shaven ; before Hadrian, unless youths. 36, i
and 45, P are of this class ; but the young men i vii ;
2, P ; 38, P ; 40, vi ; 57 iv might some of them be
naturally beardless. For the present we leave them
here. Hadrianic beard, 8, P ; 1 1, vii ; 37, P ; 17 ; 49 ;
Antonine beard, 27, P ; 28 vii A ; 56, P. Aurelian
beard, 3, P ; 9, v A ; 19 vii A (Verus) 34, V. Caracalla
beard, 39. Cropped, Balbinus style, 52, vii A ; Sev.
Alex, style, 60, vii. Now comparing these — as we did
the women — with the other indications :
Flavian.
Hadrian,
Antonine.
Aurelian.
Later.
Good .
. 6
3
2
2
0
Medium
0
2
0
I
0
Poor .
I
0
I
I
3
+ -
+ -
+ -
+ -
+ -
Gilt feet
• ' 3
I 4
I 2
2 2
0 2
Button in
rhomb 1 3 3
0 4
2 I
I 2
0 2
Rows of
Buttons 3 3
0 2
I 2
I 2
0 I
Here the quality of the portraits steadily deteriorates
through the five periods. Yet in the decoration there
is a balance of with and without all through, whereas
among women the earlier mummies were certainly
simpler. Probably we should account for the position
thus. We saw before that by the direction of the
mummies those of women were more usual in the
early time, and men in the later. Hence if we sup-
pose that the gilt decorations came into use in the
middle of the Flavian style, and women's portraits
'4
THE WRAPPING OF MUMMIES
became less common then, the Flavian style of
women will have little decoration, while men's
mummies were commoner in the later Flavian when
gilt decoration had come into use. This divided the
Flavian age into two periods: (i) women's portraits
commonest, and no gilding ; (2) men's portraits more
usual, and gilding.
29. So far we have only dealt with general labels
of style, Flavian, Antonine, etc. ; but we ought to
translate those into dates. Though the limits of
possibility are wide, yet it seems most probable that
we should view the facts as follows :
Wedge-faced mummy, 40 a.d. and onwards.
Papyrus of Tiberius ten or twenty years old when lost
in filling grave.
Gilt-faced head-piece of Titos Flavios, 100 A.D.,
twenty or thirty years after he took the name.
Papyrus about 160 A.D., copy of register of 127
.\.u., buried 180 A.D. with woman No. i8, along with
man imitating Verus of 170 A.D.
Style of women's hair about a generation after
Roman fashion. Say Flavian 100-130 A.D. .Trajan —
Hadrian 130-170 A.D., Antonine 170-190 A.D., Aure-
lian 190-210 A.D.
Style of men ten years after Imperial fashion.
Shaven 100-130 A.D., Hadrian style 130-150, An-
tonine 150-170, Aurelian 170-190 A.D.
Such seems the most probable adjustment of the
facts, looking to the chances of variation by different
causes.
So in general terms we should place the Hawara
portraits of good work lOO-i 50 A.D., medium i 50-200
A.D., poor 200-250 A.])., thus closely agreeing with
the general art of that age.
30. The variety of race shown is considerable.
The population of the Fayum margin was Egyptian ;
the Ptolemies had dried up the Lake and planted
colonies of veterans upon the reclaimed land. This
Greek population had then been mixed with various
other people in course of the cosmopolitan trade that
went on. There seems very little of the Egyptian
element, only No. 2 shows an African touch. The
Greek apparently predominates, as in 12, 13, 31, 51,
57> 58 ; the few names that are found are also Greek.
No. 5 with long curls is probably Macedonian, and
1 1 and 27 are both apparently northern types. The
Italian is seen in the fair boy 25 and probably in 42.,
43> 45> 53. 54; the south Italian in 19 and 59. 36
has the mode of hair, the low head and wide face,
of Trajan, and is therefore probably Spanish ; but a
resemblance to the Moor or Shawyeh type suggests
a Moresque Spaniard. The caste mark on No. 3
points to an eastern connection, but the type is
northern rather than southern, therefore perhaps
Syrian. No. 29 has been noted by many observers
as Indian in style, and perhaps also 21. Indians
were apparently much admired ; for at Koptos, the
port of the Indian trade, there was a very -heavy duty
on women coming in from the Red Sea, shewing
that there was a great demand for them. Thus the
various types seen here, ranging from Spain to India,
accord with the mixture of people that was going
on through the active commercial intercourse of the
Roman Empire.
CHAPTER V
THE WRAPPING OK MUMMIES.
31. In this chapter will be placed together the de-
tails of the wrappings of the mummies, external and
internal.
The diagonal winding of the bandages around the
mummy became developed into a complex sy.stem ;
and the triumphs of this decoration seem almost
incredibly skilful. The diagonal lines of bandage
were in a few cases square with each other ; but
almost always they met in a rhombic form, and
hence this style is called the rhombic bandage, and
the number of layers in the rhomb is noted. A very
fine e.Kample, almost square, is that of Heron (pi. x,
3) which has thirteen layers of different colours. The
portion shown here is turned with the mummy
diagonal to the page, in order to place the inscription
level. The most perfect example is the girl's mummy
(.xi, 2) now at Liverpool. The portrait is unfortun-
ately much spoiled, but it has been one of the best
heads of children known. The bandaging is per-
fectly regular over the body, anti round the head and
below the feet, without a single flaw in the system ;
yet without any adhesive, or sewing, or pins, to re-
tain the strips in place over the corners and curves.
The layers of the bandages are, gilt on the outside,
then red, white, red, white, red, white, blue, white, red,
white, brown, white, thirteen layers in all.
32. A development of this system began with
placing a piece of base gold-foil at the bottom of each
rhomb, so as to show in the middle space. A very
fine example of such wrapping was found at
Ilawara (pi. xiii, 4) and kept at Cairo, as this stage
was unknown before. The pieces of gold-foil were
about 2 inches square, but only about ^ inch
square was visible. The idea appears to have been
CANVAS COVERS
15
that the mummy was cased in gold, and the wrap-
pings put on so as to show the gold in patches all
over it. This mummy is a remarkably perfect ex-
ample of bandaging, especially over the wedge-face,
in layers of different colours. The V pattern over the
legs is seen on a larger scale in pi. xi, i, on a rather
later mummy. Sometimes different colours were
used so as to make two sides of each rhomb coloured
and two white.
The next development was that of omitting the
gold-foil, which was almost hidden in the bottom of
the rhombs, and putting on a button or boss, gilded,
in the centre of each rhomb. The earliest of these
were larger, as seen in xi, 7. But they immediately
shrank to the usual size shown in x, 2 ; xi, 3, and xiv.
These buttons were of stucco painted yellow, and
having a square scrap of gold-leaf on the top. They
were stuck on to squares of cloth stiffened with
stucco and coloured usually red, sometimes blue.
These squares were about i^ inches in the side, the
buttons being about half that in diameter. They
were laid on the mummy symmetrically, and held in
place by the first layer of bandages, which crossed
over the plain sides of the square close up to the
button. Having thus a supply of easily applied
gilding, it was used senselessly by putting buttons in
rows acro.ss the chest, plainly showing the coloured
squares around them, sometimes one row (x, 2 ;
xi, 3 ; xiv), or two rows (x, i) or even three rows as
on portrait mummy 55.
33. Another form of decoration was by enveloping
the whole body in a smooth decorated cloth. There
were two forms of this, either a red cloth stiffened,
or made up by stucco as a red case, with a few large
gilt figures on it ; or a thin cloth with red ground
and rows of figures gilt or coloured.
The red cover was found on two portrait mummies
of this year, i (xi. 4) and 51, the gilt figures of which
were copied on pi. xxi. No. i has the two iiza eyes
of Horus ; two Horus hawks ; Maat with spread
wings ; Osiris, lord of the pure place, or temple ;
and another winged figure now partly lost. No. 51
has the two Horus hawks ; a pendant shrine of
Sebek-Ra ; the four sons of Horus ; the goddess
Maat ; the name " Demetris, years 89 " ; and an
ornament copied from the wreaths of leaves which
used to be placed on the bodies in Ptolemaic times,
between two serpents. A more elaborate form of
this decoration is the hard red stucco case polished,
of which three were found in 1888 ; one named
Thermoutharin (Edgar Catalogue, xxxii) in Cairo ;
another named Artemidoros, in the British Museum
{Guide, 1st and 2nd room, xxii), and a third, of
another Artemidoros. (Ancoats Museum, Manchester.)
Of the same system, though plainer, are some
single cloths placed over portrait mummies, with
openings to show the portraits. The paintings had
been anciently removed ; one of the cloths has two
inscriptions on it in demotic (xxiv, 3, 4).
In the other systems of decorated cloth it was
thin, and only painted and gilded. Such is shown
on the gilt-head mummy xiii, 5 (Manchester), which
by the hair would be of about 100 A.D. The red
cloth with gilt figures of gods was placed over the
rhombic bandaging on 46, over the bandaging of
the chest only in 43, and as a strip around the sides
of the mummy in 29, 45 and 50.
Another decoration was a red cloth over a
mummy, which had a stucco head-piece with gilt face
and white drapery (xii). On the cloth was painted
a deep collar, and below it a figure of the deceased
man, clad in a white toga with a stole of black and
colours, the prototype of ecclesiastical vestments.
At the sides are the two hawks and two serpents
as seen on the other painted cloths. In the hands
are a long rod speckled black and white, and a bunch
of herbs. (Dublin.)
34. The stucco coverings of the head and feet
descend from much earlier usage, cartonnage head-
covers being found even in the pyramid period. In
the Ptolemaic age such were made of cloth or
papyrus, stiffened by a thin coat of stucco inside
and out. This covering was made much stouter in
Roman times, with a hard polished surface, and
covered with sacred figures on the head (x, 4), and
with two or four bound captives under the feet (x, 5).
An example, which by the style of the hair and
necklace is dated to about 100 A.D., is seen in pi. xiv
(Edinburgh). Apparently of the same age is the
gilt bust xiii, 5 (Manchester). In this the feet are
well modelled. Of earlier date is the foot-case which
is actually cast from the feet of a girl, xi, 7 (Univ.
Coll. Lond.), with black sandal straps and gilt twisted
anklets ending in lions' heads. This stage is only
known by this example.
The full bust of gilt stucco is well shown in two
of men, x, i (Brussels), and 2 (Edinburgh), which by
the other examples might be of about 120 A.D.
Over the mummies there were usually wreaths of
flowers laid, the more compact of which are shown
in xi, 5, 6. Usually they were lighter and more
straggling. Prof. Newberry has examined all the
i6
THE WRAPPING OF MUMMIES
material collected both from these wreaths and also
from the padding of crocodile mummies. There
was but little to be added to his previous study
in Haivaia, pp. 46-53.
35. So far, we have only dealt with the external
appearance of the muinmics ; the question remains
in what way was the bulk and the weij^ht — often
over a hundredweight — made up. To study this
takes a long time, the complete unwrapping and
recording of one mummy being a matter of half a
day's hard work for two or three observers. We did
thus completely (i) a mummy with gilt head-piece,
taking measurements of 196 pieces of linen, and
noting every detail ; we then did (2) a mummy which
had originally had portrait 27 on it, and was later
rewrapped, noting each layer of cloths ; also (3) a
beautifully wrapped mummy of a woman with every
cloth clean and separate. Having learned the general
system I examined briefly (4) Demetria — inscription
pi. xii, (5) the mummy of portrait 49, and (6) a
gilt-face mummy of a man ; these latter three I
explored by cutting through the wrappings down the
side and noting the nature of the layers.
The wrapping of the mummies is of many different
sorts. The large covers are either cloths laid under
the mummy and turned up over it round the sides,
denoted as c ; or shroud cloths laid over the mummy
and tucked in round below, denoted as S. The bulk
is made up largely of pads, P, of every shape and
size, folded over anywhere between two and thirty-
two thicknesses, and of any degree of coarseness.
The mass is held together by many spiral turns, T,
of narrow strips ; or by bands over head to feet, u,
tied at intervals. On every mummy is a special
band up the front, split into a Y on the chest, the
ends tied behind the neck, and often split at the feet
and tied round them ; this forked tie, Y, is a constant
landmark in the mass of wraps, about half-way
through.
With this notation we can readily compare the
wrappings of several mummies, in order to see if
there was any system usually followed. On pi. xxi
are nine columns, recording the wrapping of as many
different mummies. It is at once evident that there
are several constant points in all of them, both the
xiith dynasty and the Roman. These are most
plainly seen in the last column where there are
fewest cloths. There is the outer shroud S ; a great
swathing of about twenty to fifty turns, T ; the Y tie
up the front ; padding, P, lower down ; and another
great mass of turns, T, of swathing, holding the
innermost group of cloths together. Many of the
mummies agree in intermediate details, as will be
readily seen by the same letter following on the
same line.
36. The mummy with the gilt head-case (Bristol)
in the fourth column, being the most elaborate and
the most completely recorded, will now be described
in detail. All figures after the subject are inches.
Outside size of wrap])ings 60J x 16 x 7.
Gilt head-piece with raised figures of gods
modelled in stucco.
Gilt foot-case removed anciently.
Rhombic bandages, seven layers deep, ten rhombs
on length of body. Each strip formed by folding
double and putting folded edge next to buttons ;
top strip folded triple, so as to leave both edges
smooth. Lower strips not much wider than upper,
leaving wide spaces between rhombs of lower layers.
Gilt buttons, with small square patch of gilding on
ochre yellow button.
1. Outer rhombic bands, top layer 4 wide, made
of strips 10 wide.
2. Around edges of body a band, wide 4i to $.
3. Double tie round neck, 2 wide, hanked,
long 72.
4. Cloth rosined on under body (warp length
always stated first), 51 x 18.
5. Lower rhombic bands, i wide, folded down
middle. Pads of loose thread down edges of body
under rhombs. Bands end by winding round feet
over top of foot-case. Gilt buttons on squares of
cloth I 3 wide, beneath rhombs.
6. Over body, piece with one selfedge, 44 x 20^.
7. Strip wound around, ending at shoulder, one
selfedge, two reverses. Made from a strip 33 wide,
with fringe on one edge, torn into a band 8 wide.
8. Two loose pads {a) folded in four, 21x15.
{b) scrap of 7 with fringe,
37x2.
9. Long spiral bandage beginning at shoulders
ending in middle, raw edges, fringe on both ends,
194X 2i.
10. Spiral bandage end at ankles up to middle
and down again, a knot at 153 : fringe at one edge
and at knot, long 409.
1 1. Four strips down front, put in during winding
of 10, 22 X 15, 36x3^, 36X 2j, 36x2^.
12. Loose pads in front: («) 37x3 quartered;
(3) 22 X9I, one selfedge, one fringe ; (c) 22 x 14^, one
selfedge ; {d) 37 x 1 1, one selfedge ; (<;) 36 x 8 ; (/)
39x26, folded in four, selfedge at end; (^) 37 x 30,
LIST OF WRAPPINGS
17
folded in four ; (//) 37 x 27, folded in four; (/) 24 x i,
rumpled.
13. Spiral bandage, end tucked in at shoulder;
fringes at end, one edge split half-way along, turned
down and sewn on to rest, 198 x 2.
14. Scarf over head, ends half-way down sides ;
end fringe 6 long, other end loose warp li long,
80 X 9i.
15. Left shoulder pads: {a) 33x8i; {b) 15x9;
{c) 29x4^ ; {d) 15 X 10 ; {e) 13 x 16.
16. Narrow spiral band beginning at neck,
206 X I.
Another, round shoulders, 118x2.
17. Around feet a strap, with selfedge, two knots
and two reverses in length, 477 x 2.
1 8. Strips round feet, 1 17 x ih and 90 x 2.
19. From ankles upward a spiral strip, crossing
over neck, knotted at 196, 470x2.
20. Cloth under body turned up to front ; fringe
one end, turned warp at other. Selfedges both
sides, 78 X 40
21. Pad down front, ends and sides hemmed,
53x30
22. Spiral strip, ending at feet, crossing at neck ;
knot at 195, 540 X2f.
23. Pads: (rt) 20x12, {b) 31x9, {c) 30x8, {d)
30x6, {e) 30 X 10, (/) 31 X9, {g) 31 X7, {k) 31 X9,
U) 30 X 6, {k) 31x6, (/) 10 X 30.
24. Cloth under body folded over at sides ; fringe
6 inches ; other end warp i\ ; one selfedge, yjx 30.
25. Spiral bandage from shins to feet and up ;
knots at 143, 335, 523x2.
26. Cloth under body, split at head, ends folded
round front, 86x 33.
Worn through and patched.
27. Pads : {a) 30 x 4 coarse, {b) 28 x 16, {c) 28 x 15,
{d) 29x9, (e) strip of fringe (36x2), (/) 46x9,
ig) 47X II, {k) 46X IS, (J) 36X II, ik) 31 X 14, (/)
55x10, {m) 25x11, («) 27x10, {p) fringe edge
70 X 3|, (/) 27x15, {q) 25 X 14, (r) 34 X 13, W 19x17,
(0 53x7. («) warp end edge 38x3, {v) 29x12,
{w) 27 X 17, {x) 24 X 13, O) 18 X 16, {2) 24 x 1 1, {aa)
23x6, {ab) 24x10, {ac) 23x11, {ad) 26x20, (ae)
35 X 16, (a/) 22 X 16, {ag) 20x 11, {ah) fringe edge
24x11, («/•) 17x8, {ak) 22x13, {al) 23x20, {am)
31x7, {an) 14x13, {ao) 22x11, {ap) 22x11, (ag)
14x16, {ar) 16x16, (as) 15x15, {at) 23 x 8, {a^) to
{am) coarse, others ordinary linen.
28. Spiral bandages round toes and upward : (a)
123 X 2, (^)69 X 2^, (c) reverse at 80, 158 knot, 239
reverse, 319 knot, 510 x 2.
29. Head bandage, 3 turns round, 3 turns round
chin, 7 turns round head and neck. At 191 knot,
282 knot, end 320.
30. Pads (a) on end of toes, fringe end ; 30 x 20,
(b) similar, 24 x 15.
31. Pads on head (a) 53 x 11, (b) 17 x 16, {c)
17 X 10, (d) 36 X 17.
32. Cloth under body turned over at sides, split
at head, ends brought round over shoulders, 72 x 30.
33. Pads : (a) 14 x 20, {b) 21 x 11, (c) 27 x il,
{d) 16 X 10, (e) 18 X 13, 00 23 X 10, {g) 17 x 12,
(/i) 22 X 14, (y) 31 X IS, (/&) 32 X 21, (/) fringe edge
35 X 5, (w) 37 X II, (n) 36 X 15, (o) 17 x 19, O)
15 X IS, (g) 20 X 17, (r) 20 X IS, (s) 18 X 20, (i)
54 X 20, («) 13 X 17, (z^) 21 X 17, (w) patched, 18 x
16, (x) 16 X 17, (/) 14 X 22, (s) 4 X 29, (aa) lump of
ravellings, (ab) 11 x 20, (ac) 4 x 42, (ad) 17 x 20.
34. Spiral bandaging over back-board, end in
middle, runs down to feet : («) coarse 192 x 3, (b) end
behind shoulder, knot at 88, end 148.
35. Pads at side of back-board, going down right
side and up left side : (a) fringe one end 93 x 14,
(b) 48 X 16, (c) 45 X 17, (d) 28 X 15, (e) 9 x 16,
(/) 16 X 14, (g) 24 X 12, (/i) 6 X 37, {/) 23 X 20,
(k) 24 X 21, (/) two hanks of thrums, (;«) 13 x 28,
(n) 20 X 17, all previous coarse. Finer (0) 24 x 20,
0) 23 X 8, (<7) 18 X IS, (r) six rags, (s) 20 x 16,
(t) 21 X 17, (t<) 18 X 20, (v) 18 X 20.
36. Spiral bandage, chest down to feet, 135 x 2.
37. Y tie bandages ; knot under feet, then knot
over feet ; up the front together ; knot on shins ;
knot on navel ; apart over shoulders ; knot behind
head.
38. From feet vertical up back, then spiral down
from shoulders to feet, turning round vertical at each
lap, wound round feet, then vertical from feet up,
knotted to other vertical behind knees, 40 from neck,
and at shoulders, 20 from neck, wound round neck,
end knotted on to previous, knot at 191, 375 x i|
39. Back-board, a piece of old wood. Mortises at
both sides, not opposite,
48 X
X I.
40. Head wrap, and tucked in over mouth, 8 turns
round, 84 x 3.
41. Pads on head (a) 22 x 17 ; (b) $7 x 12.
42. Spiral bandage around feet 6 turns, 158 x 3.
43. Spiral bandage feet to neck, 366 x 2J.
44. Head band, 142 x i^.
45. Cloth under mummy turned up at sides, folded
over and tucked down over shoulders and toes, edges
raw, ends both warp ends. 92 x 42.
46. Pads over body : (a) 13 x 26, (b) lo x 33
THE WRAPPING OF MUMMIES
(c) 13 X 17, (,/) 43 ^ «8. ('•) 21 X 8, (/) 21 X II,
(g) 19 X 23, (//) 17 X 20, (>) 46 X 9, (/t) iS X 25,
(/) 13 X 20, (/«) 22 X 18, («) 15 X 34, (o) 16 X 27,
(p) lump of ra veilings, (g) 19 X 38, {r) 19 x 38,
Is) 22 X 21, (/) 20 X IS, («) 25 X 3, (f) 34 X 15.
("0 33 X 17. W 29 X 18, (y) 28 X 19, (r) 14 X 36,
(aa) 24 X 34, (a(>) 17 x 38, (ac) 24 x 18, (ad)
44 X 14, (ae) 27 X 16 ; (a/) water carrier's pad
5 wide, (<7j;) neck bulked out with thrums, (a/i)
19 X 21, and four or five pads matted together hard.
Body also bulked out with ravellings.
47. Three spiral bandages from head to feet, and
round head diagonally.
48. Cloth put under whole body, turned up at
sides, surplus length turned over toes up to knees.
The first cloth upon the hair. Ravellings over
face, 86 X 33.
49. Cloth put under body and wrapped over,
wide 35.
Pads of ravellings on body.
50. Tie round waist, and spirally down to feet,
holding legs together. No wrapping of arms, fingers,
legs or toes separately. Hands over pelvis. Ears
small, no lower lobe.
37. The other columns in pi. xxi must now be
noted. Taking those to the right, of the Roman age
from Hawara, the only feature not found in the
mummy just described is the long band, i;, wound
from head to foot, straight down one side and up the
other. The rhombic bandaging on 27 was well pre-
served, having been covered over by the second
rhombic bandaging which was added on the re-
editing of the mummy. The colours were fresh, and
begun with white on the top, then green, white, red,
white, white, white, brown, white base ; the inner
layers could not be distinguished apart. The mummy
49 was much solidified with hard oil and resin, and
the innermost layers could not be separated. It
should be stated that in the five columns to the right
the actual number of turns of the long spirals were
noted ; in the four columns to the left the length of the
bandages was noted, and the turns reckoned by the
circumference of the mummy ; the exact number is not
fixed, but as the numbers where counted show no regu-
larity it is not likely that the number was observed.
To the left are stated the wrappings of three
other mummies unrolled by Miss M. A. Murray.
The first two are published by her in T/ie Tomb of
Two Brothers ; of the later one at Hastings she has
kindly allowed me the use of her notes. The two of
the xiith dynasty are mainly consistent with the later
system, as will be seen by the resemblances of the
letters and numbers. The principal difference is in
the form and frequency of Y ties ; these are, in this
earlier stage, X ties, passing from right shoulder to
left ankle, and across that ; the subsequent binding
of these together in front made the Y form, which
was later applied as a single band, split at each end
to tie round neck and feet. The long bands, straight
down sides and round head and feet, were also
frequent. The limbs were each separately wrapped
in cloths which partly covered the trunk. The later
mummy of the .vxvith dynasty has no Y bandage
recorded ; but as many of the bands were rotted and
broken, it may have been overlooked. Now that the
regular system is before us — for the first time — it will
be possible to record the wrappings with more cer-
tainty and discrimination in future.
38. When unwrapping the gilt-head mummy,
which has just been fully described, samples of nearly
all the linen cloths were set aside, and subsequently
their gauges were measured ; these arc stated as
threads per inch of warp and woof in the table on
pi. xxiii, with the reference to the number of the
cloth in the account already given, sect. 36. A
peculiarity in many of the cloths is the use of doubled
thread, to save labour in the weaving ; more than
half have doubled thread in the woof, and a quarter
have it in the warp. It would halve the labour in
the woof, but only save a little trouble in setting up
the warp. These doubled threads are counted as
one, and marked D ; but in each such case the
number may be doubled to reach the thread number,
instead of the throw number. It will be seen that
roughly the actual thread number is about equal in
the warp and the doubled woof, except in the coarser
counts. We may here note the gauge of two strips
of xiith dynasty cloth found re-used in Roman
mummies, pi. xiii 2, 3. These are of 83 warp threads
and 23 woof threads to the inch, very regularly laid
and closer than the late fabrics. This is a good
sample, but 3 out of 42 cloths of Nekht-ankh ex-
ceeded this in fineness, being 112, 126, and 151
threads per inch.
It seems obvious that several of these cloths are
from the same piece. The fluctuations of weaving
and of stretching will easily make a twentieth, or
even a tenth, difference in the numbers, especially in
the woof. Such gauges as 36x190 and 36x160,
36x28 and 34x28, 29x160 and 28x160, 28x15
and 28x15, 240x150 and 240x140 are pretty
certainly from the same pieces of stuff.
THE PYRAMIDAL CENOTAPHS
19
39. Though the cemetery produced no examples
of burial in ordinary dress — probably owing to its
not being used by Christians — yet one little child
was in the clothes which it wore during life. Outside
was a long thick shroud. Then followed 8 turns of
coarse bandage from head to ankles, which retained
a yellow wool dress with two bands of purple figures,
tucked in over head and feet. Below was a Y tie
over the shoulders, and 3 turns round the body.
Next a thick coarse cloth turned up over feet to
waist. Then a child's dress laid on the front, having
two bands of purple and red flowers. Within was a
wrap, and bits of a coloured dress with all the wool
eaten out by moth before burial. On the body was
a plain dress of fine linen. The persistence of the
Y band, where all else of the bandaging system was
changed, shows the importance attached to it. (Bristol.)
40. Two instances of dissevered bodies were found,
though such are very unusual in late times. A
woman's mummy, along with portrait mummy 46,
had rhombic bandage, 5 layers : pink feet with black
straps and gold studs, serpent armlets, Isis Horus and
Nebhat triad on neck, a purple robe, and long curl
of hair. Inside the wrapping, the jaw was among
the ribs, all bones of right arm in the pelvis, and the
vertebrae all separate. Above portrait i, with three
inches of sand between, lay a woman's mummy
wrapped in plain cloths ; within, it had the humeri
out of the scapulae, proximal ends together lying one
across and one down, scapula and ribs between them,
loose vertebrae, pelvis dissevered, and leg bones all
parallel close together. Evidently it had been
wrapped as entirely separate bones. Is it likely that
any accident in macerating the body — which had to
be delivered up after a recognised period — could
possibly have removed all the ligaments of the spine
and have left the vertebrae apart ? Such seems
impossible, and if so we must grant that these were
intentionally dismembered in some manner. Being
women it can hardly be supposed that they had been
lost in the desert and eaten by animals ; even in
such a case the spine of a carcase holds together.
CHAPTER VI
THE GROUPS OF TOMBS.
41. Apart from the subject of the portrait
mummies we also cleared and fully examined various
groups of tombs which contained plain mummies.
Neither coloured cartonnage, nor gilt stucco, nor
portraits, were found below any of the ostentatious
stone or brick buildings on the surface, except in one
case (Nos. 2, 3, 4) ; and hence all these forms of
decoration were probably kept in the house until
abandoned by the family.
The most interesting group was that shown in
photographs pi. xvii, and the top plan, i, on pi. xxii.
The north-west chamber had originally been in one
with the south-west. A cenotaph was built against
the north wall, with a recess in it for offerings, and
the group painted with basket-stands of flowers ; this
is seen on the right of the top view, xvii, i, looking
at east end of it ; in front view of the south face across
the chamber, in the mid view, 2 ; and closer in the
view 3. There was nothing left in the recess ; in 1888
I found a glass cup in such a recess {Hawara, xvii, 3).
In the middle of the chamber were built two detached
pyramids on square dados. The more perfect one is
shown in elevation above the plan, with the con-
tinuation of the sides dotted up to a point. The
clearest view is of the southern pyramid in view
xvii, 2, and they can both be seen in view i. The
sizes of these pyramids at the foot of the slope were,
northern, 30'6 inches on west ; southern, 32-9 on
north, 347 on west. The angles were, northern 6y°
north, 67^° south ; southern 66^° east, 68i° west,
70^° south ; there was thus no accuracy about them,
and they were only made of mud brick plastered.
After these pyramids were built over the mummies, the
northern part of the chamber was bricked across with
a very thick wall, without any opening. This wall
encased one side of the southern pyramid, and ran
above a portrait mummy 40, vi. This is one of the
few instances of a portrait mummy inside a chamber
or open court, and there was no monument over it
or over the three other bodies. In the north-west
corner under the cenotaph were two bodies, the lower
one that of Heron, whose inscription is on pi. x, 3.
42. The other burials on the eastern side of plan i
had but slight wrapping bound with coarse tapes of
a brick-red colour, or none.
A small well-finished chamber is that marked 2,
and shown in photograph, xviii, 5. The pits of
burial were very small, and the paving projected over
them ; the southern pit had the base course of a stone
cenotaph. In the north-east corner were set in the
ground a small, flat, ribbed jar, a cup with six waves
in the outline, and a smaller saucer, apparently for
offerings.
A large enclosure is shown in plan xxii, 3, the
view from the east being on pi. xviii, 4 ; the view of
30
OBJECTS FOUND IN Tlil- CEMETERY
the north-cast enclosure of graves is in pi. xviii, 6.
The^e graves were of brickwork, which in most cases
had been plastered over. No decoration of any kind
was found on the mummies, which were plainly
wrapped. The direction is twice as usual with head
to north as it is to the other points, which are about
equal. The shaded block south of the south wall is
of masonry.
CHAPTER VII
OBJECT.S FOUND IN THE CEMETERY.
43. Besides the portraits and the mummies,
many other objects were found in the cemetery,
though these were not quite so important as those
found in 1888; the earlier excavations were much in
chambers above the actual graves, while the later
were more in the graves. We here follow the order
of the plates.
PI. xiv. To the north-east of the pyramid a burial
of a girl lay with the head to the east. The
mummy was in rhombic bandaging with gilt buttons,
a gilt face and yellow-painted bust, and a foot-case.
Over this mummy lay a cloth, and on the cloth lay
the toys of the girl. At the head was a wooden
tablet with tenon handle at one edge, 346 inches wide
at top, 342 at base, the sides 5-41 and 5-43 long. (If
this be made by measure it would, if 3-45 and 5'4r,
be 7 and 1 1 units of a sixth of the palm of a cubit
of 20-67 inches). On one side of the tablet is a
painting of a woman seated with legs apart ; on the
other is a draped man on a chair with high back,
holding a pair of shears, and with a cupboard in the
wall behind him, apparently containing rows of rolls.
This suggests a tailor of literary tastes. Above this
lay a small wooden box without the lid. The box
measured 326 and 3-24 by 2-13 and 2- 10. Two
glass bottles lay on the head, two long-necked on the
chest, and a small one (second in the row) with the
cut-glass bottle upon the thigh. The cut-glass bottle
of globular form is shown in the middle of the group ;
it is finely worked with a wreath round the neck,
another on the shoulder, fluting down the sides, and
a cruciform flower on the base shown separately in
front of the lion. The lid of the wooden box lay on
the neck ; the limestone lion on the waist (4-5 long) ;
the blue-glazed Horus on the knees ; with a little
ivory box without a lid by the lion. The rarest
objects here were two mirrors, made of tinned copper,
fitting in wooden cases with lids, The one on the
neck was convex, case 270 across ; that below the
lion was concave, case 245 across. This whole group
is in the Royal Scottish Museum, Edinburgh.
44. PI. XV. At the north limit of this year's work
a jar was found in a surface chamber. In the
chamber were lying : i, a glass ball ; 3, a copper coin
of Theodosius ; 2, 4, 5, three pottery lamps ; and 6, 7,
two fine altars of pottery. The lamps might be put
to the 1st or 2nd century, and the coin of Theodosius
seems as if dropped there later. In the jar, and
therefore certainly of one age, were 8, a lead dipper
with long bronze handle; 9, 10, two very thin glass
cups ; II, an iron knife ; 12-15, pottery lamps.
To the north-east of the pyramid, a group of
coloured pottery figures was found in a surface
chamber. The mask 16 and bull 17 were only white
and black ; but the three different figures of Horus,
18, 19, 20, were fully coloured, as also the Atys 21,
and bouquet wand 22. The limbs of the Atys and
the bouquet are of plaster. (Munich.)
45. PI. xvi. Another group found near this is
shown in figs. 1-9. Three examples were found in
diff"erent places of a stick with a lump of rag tied on
the end, and stifT as if glued together, fig. i. This
may be ceremonial, or merely a washing-mop, hardly
for whitewashing, as there is no colouring material.
Figs. 2, 3 are little baskets of cast lead, with cast-
lead handles fitted in. 4 is a rod of glass twisted
with white thread in it. 5 is a curious glass bottle
with long neck and bilobed body. 6 is a string
sandal. 7 and 8 are pottery hutches in which to
burn a minute lamp, so as to screen it from wind.
Fig. 9 is a pottery stand. (Univ. Coll.)
Fig. 10 is a large lamp handle of moulded pottery.
It represents Dionysos, and perhaps Thanatos draw-
ing him away, and holding a reversed torch which
balances with the thyrsos of Dionysos. The emblems
of the god are all around, the mask, cymbals, leopard,
pan-pipes, lituus and cantharo.s. (Manchester.) Fig.
II is a pottery Horus, in an Indian attitude, with a
basket at the side surmounted by another figure of
Horus.
Fig. 12 is half of a sundial of limestone; the
drawing of the upper surface is given in pi. xxiii. It
was a concave dial, approximately spherical, and had
a short gnomon 2-42 inches long, placed parallel to
the upper slope, from the apex at the left hand ; the
mortise hole for fixing a stem from the gnomon is
visible there. The stone had been much weathered
after being separated from the other half, as is seen
on the joint surface facing in the photograph. The
SUNDIAL AND INSCRIPTIONS
21
curved lines running through the six hours are so
placed that the shadow of a gnomon whose tip
reached the mid line at the equinox would fall on
the outer line at the winter solstice. The inner curve
however, would agree with it on February 13 and
October 30, and if intended for the summer solstice
it would be in error. As the dial stands in the
photograph, the sc^th is to the left edge of the page,
the right-hand edge is vertical, and the upper slope
points to the pole at an angle of 31^^, the latitude of
Alexandria being 31° 12'. The errors of the hour
lines are not more than would be expected in work
of this time. On the top sloping face are two lines
drawn near the edge. One is parallel to the edge,
and therefore the true north line. The other meets
it at an angle of 4° 48' + 5', and seems as if intended
to be used for setting the dial true by pointing it to
a pole-star at greatest elongation west. The only
star which this could agree with in Roman times is
5 or a Ursae ininon's, which, though of fourth magni-
tude, would be easily found by being in line with the
two front stars of the Bear. This star was nearest to
the pole at 530 B.C., being then 4J" distant, and by
100 A.D. it was 5° 19' distant. But as the observation
was probably not exact to more than half a degree,
and very likely a distance observed in Greek times
was carfvcQ on into Roman usage, no exactitude is
to be looked for in the precise amount. Enough to
say that a line on a polar plane, which is 4" 48'
askew, would serve fairly in Roman times to adjust
a dial at the greatest elongation of the pole star,
which is the only position for accurate observa-
tion without elaborate instruments. I am indebted
to Mr. E. B. Knobel and the Rev. F. A. Jones for
notes on this star.
Figs. 13, 14 are two of a group of baskets found
stacked together in a large jar ; this stood in a
chamber north-east of the pyramid, near the mum-
mies 17-19. The baskets were tender when found,
but by dipping them in hot rice-water they have been
put in safe condition. Probably they were left behind
after holding a funeral feast in the cemetery. Pis.
xvii and xviii are described in the previous chapter.
46. Pi. xix. The limestone figure, i, should
rather be in the second volume, The Labyrinth, as the
copy of inscription and translation is given there. It
is of an official of the xixth dynasty, before the age
dealt with here. (Manchester.)
The bulls' skulls, 2, 3, were found in a group of
bones of four o.xen lying all together buried in the
corner of a chamber at the feet of portrait mummy
No. r. Three of them had wide horns, and one had
lyre horns. When found they appeared as if they
must have been a funeral sacrifice of Roman age ; as
work went on, no such sacrifices appeared connected
with other late burials ; and after some exposure
there was seen the mouth of a square shaft below
them. They are probably therefore offerings piled
over a pit tomb of the xiith dynasty ; and a Roman
tomb chamber has been built above them, and
burials placed beside them. (Nat. Hist. Mus., S.
Kensington.)
Two small limestone altars were found in the
cemetery. One partly broken had figures of offerers
on the end, 4 ; and a ha bird by a sycomore tree, 5,
at one side of the spout. The inscriptions are illegible.
A larger altar had groups of offerings on the top, 6 ;
and figures making offerings to Osiris, Isis, and Neb-
hat, 7, on the side. (Ny Carlsberg.)
47. PI, XX. A limestone head, about two-thirds
of life size, was found in a chamber, to the north-east
of the pyramid. This is just where in 1888 I
recorded on the plan {Hawara^ xxv) that there was a
Roman statue, which was headless. Unhappily the
statue has disappeared before the head was found to
render it of value. The work of this, though mechani-
cal, has kept to fairly good Greek traditions. The
eyes have been of black and white glass, as on
mummy cases ; the black centres are now lost, and
only indicated by the flat circle on the white. The
nose and upper lip had been anciently broken off,
and then remodelled in plaster, which is of rare
occurrence. (Ny Carlsberg.)
The tomb steles 2 to 8 are of usual types, and I
am indebted to Prof Ernest Gardner for reading
some of them.
2. The figures are of Akhilion and his wife ador-
ing the hawk-headed Ra, and a figure with the crown
of Lower Egypt, which might be Neit or a king.
" To Ra-Moeris the twice great God, by Akhilion
son of Akousilos, for himself and his • wife and his
children. Year 10, Thoth 8." (Cambridge.)
3. Though much is lost this is seen to record the
death of a lady at the age of 50 with her twin chil-
dren, " farewell to both of them, farewell also to thee."
There is nothing to show that she died at the same
time as the twins ; it might be put up by a widower
on his wife's death, commemorating their children who
died before. (Cambridge.)
4. " Soukhas, Nomographos, lived 64 years, grief-
less. The son Soukhas (lived) 35 years." (Not-
tingham.) It is possible that this is the S . . . . s
22
OBJECTS FOUND IN THE CEMETERY
nomographos in the Fa\um who is named in a
papyrus of 158 A.D. (Grcnfell and Hunt, Fityuiii
Towns, pp. 1 3 1-3.) (Nottinj^ham.)
5. This has, at the end, part of an hexameter and
a pentameter, and appears to read " gave thee burial
in consecrated earth because of th)- goodness. Year 10
K(laudios) Kais(ar) T)bi 18." This is the very rare-
instance of a tombstone dated by a reign, and is of
much interest for dating such inscriptions. (Univ.
Coll. Lond.)
6. This fragment is very roughly cut, and so little
remains that it is impossible to glean the sense. It
appears to name the grave of a woman, also " cheek '
and " neck," but that the words were the ends of
hexameters is about all that is clear.
7. " Kephalion son of Leonidas lived 48 years,
ever to be remembered." (Nottingham.)
8. " Menandros son of Diodoros, Herald, lived
griefless yj years."
PI. xxi has been described in sects. 33, 36, pi. .x.xii
in sect. 41, and pi. xxiii in sects. 7, 8.
48. PI. x.xiv. The inscriptions i and 2 are photo-
graphed on pi. xiii, 2, 3. They arc on narrow strips
of linen used for mummy bandages (described in
sect. 38), in about the xiith dynasty ; these had
been re-used in Roman times. The inscriptions arc
exactly of the type of those on the cloth of Khnumu-
Nekht ( Tomb of Two Brothers, p. 64), though longer ;
and those were certainly of the xiith dynasty. No. 1
reads "A^^«r«/" (twice good cloth) the keeper of the
palace gate Un-nofer son of Sebek-hotep the elder,
life health and strength (to him)." No. 2 reads " Ne-
ferui, year 1 5 sa cloth .... new year festival day 4."
The demotic inscriptions are on the Roman
mummies, and I am indebted to Sir Herbert Thomp-
son for the translations. No. 3 is along a plain cloth
cover (see sect 33), and No. 4 is across the ankles
of the same mummy. The place of other mummy
inscriptions is on the ankles, so probably 4 is the
original name " P . rem . iom son of Huy, Hawara."
The inscription 3, which is probably below, may be
that of the owner of the mummy, the widow, " Arsinoe
(daughter of) Herakleitos, the woman of Hawara."
No. 5 was on the feet of a mummy on which carica-
tures had been drawn (xiii, i) ; " Ypy the man of
the Fayum son of Huy." The title " the man of the
Fayum " might be a second name, as it is used for
a name — P . rem . iom — in No. 4. No. 6 was on a
red cloth cover of a mummy across the ankles,
' Pilto (?) the man of the Fayum son of Huy,
Hawara." Seeing that the square / alone is used
for //// in the cartouche of Philip, this name, —
literally Pyltwc (?), — suggests the Greek Philteas or
Philtias.
Some facts should be noted in passing. All of
these demotic inscriptions are of one family, three
sons of Huy; the men are all called "man of the
Fayum " ; and in three cases, 3, 4 and 6, they are
said to live at Het-ta-ur, translated Hawara. As,
however, there are in Egypt man)' places named
Hawara, or Howareh, from settlements of that great
Arab tribe, the connection of the ancient and modern
names is questionable. The inscription 7 is on a jar,
and might perhaps be read by the aid of parallels.
No. 8 is incised on a jar of the form shown. Prof.
Ernest Gardner reads it as " Kolophonian resin, the
pot weight 150 drachmae."
Nos. 9, 10 are roughly incised Coptic names on
dishes, " Sampa," and " Poun . . . ."
No. 1 1 is scrawled on a pot with charcoal, out-
side and inside. Both appear to be the common
Greek name, Euboulos.
No. 12 is a fragment neatly written in a later
hand, " Ecclesias."
No. 1 3 is rudely incised, and only two fragments
of the lines remain. In the second it is tempting to
see a rendering of a Semitic name, Abd-es-Samim,
"servant of the heavens," Samim being translated
into Latin as ioviovi. Nos. 14 and 1 5 are Coptic
names on bowls.
No. 16 is a wooden label written with ink, of
Diodoros (?) of Arsinoe, who was an official of the
market of the cloak-sellers. The remaining frag-
ments 17 to 23 are of marble slabs from graves, of
which not enough remain for a certain reading.
PI. XXV. The pottery is all of Roman age ; those
of the same group are marked with the same number,
not referring to other objects.
Pi. xxvi has been fully described in the first two
chapters.
49. Mr. J. G. Milne has kindly examined all the
fragments of papyri found in the course of the work.
Most of them are so small that even the subjects
cannot be traced. Those worth noting are stated
below. A letter is used for each group of fragments,
and numbers for the separate pieces of a group
Measures are in millimetres. All the centuries are
A.D.
A. 60 X 94. Ten lines practically complete. An
acknowledgment of the return of tools (?) lent "in
the thirteenth year now past." ist cent.
MEMPHIS.
23
B. 90 X 87. Recto. Beginnings of 6 lines, ap-
parently accounts. Verso. Middles of 7 lines, list of
names with descriptions of house property, ist cent.
C. loi X 94. Middle of 13 lines from bottom of a
document. Details as to transferred properties, with
references to the records of the i ith year of Hadrian,
127 A.D. This was folded up and placed on the
portrait 18, vii A, tucked beneath the bands.
D. 108 X 65, and 50 x 51. Two fragments with
beginnings of 10 and 3 lines, apparently a letter, ist
or 2nd century.
E. 97 X 108. Three connected fragments, with
parts of 8 lines, the whole extent of an order to
Herakleides the banker to pay a sum of money.
Dated in the reign of Domitian.
J(i). 135 X 142. Parts of 18 lines from the top
of document. Census return of 105 A.D. in the dis-
trict of Dionysias.
K(i). 140 X 42. Parts of 11 lines, list dated in
reign of Hadrian.
(3). 152 X 115. Parts of 21 lines, whole extent of
agreement relating to leased land in a village of the
division of Herakleides, one party registered in the
Hermouthiac district. Dated in the 8th year of
Hadrian.
L (2). 120 X 75. Ends of 9 lines from bottom.
Letter, dated 27 Pakhons year 6 (?) of Tiberius or
Claudius.
N (2). 140 X 115. Two fragments. Verso. Parts
of 17 lines, apparently accounts with reference to a
date in the reign of Claudius.
0(2). 140 X 105. Parts of 12 lines. Elegiac
poem referring to Merops. 2nd century.
CHAPTER VIII
MEMPHIS.
50. The excavations at Memphis this year were
on three plots of ground. One plot. No. 45, of a
third of an acre, near the colossus, contained the
hind quarters of a colossal sphinx, the remainder of
which ran on into a different property and has not
yet been cleared ; some large blocks of limestone, and
a headless statue of a vizier were also found here.
Another plot, No. 17, of about an acre, in the Ptah
temenos, east of Mitraheneh, was cleared in alternate
blocks, descending to over twenty-five feet in very
tough black mud, but no sculptures were found in
the parts cleared, and the intermediate blocks were
therefore not moved. A third plot, No. 54, south-
west of the Siamen building (see MempJds, I, pi. i)
was excavated as the owner had been finding stone
in it. About half an acre was turned over, beside a
trench in the rest of the ground. The foundations of
a church were cleared, which proved to be formed of
blocks from the Ramesside temple of Ptah. All the
sculptures wore copied, and many removed. These
will be best described by following the order of the
plates.
51. PI. xxvii. This is part of a large scene of
the king offering to Ptah in his shrine. It has been
reconstituted from five blocks, the connections of
which are only inferred. The god promises the king
to "give to thee to make multitudes of festivals
eternally." The largest block, with the figure of
Ptah, has originally belonged to an earlier temple,
probably of the xiith dynasty, as it has a Khaker
ornament along the present base of it.
PI. xxviii. It is not known whether the two large
blocks at the top of this plate are from the same
wall. That the top band of signs is nearly of the
same height, and the signs read the same way, points
to their being originally connected. It is probable
that when collecting building material from the ruined
temple, neighbouring parts would be taken together.
The left-hand block has the usual titles of
Ramessu II, and part of a hand showing where the
figure of the king had been below. Another block
with the figure on it may probably belong here, as
shown in the plate. (Hibbard Mus., Chicago.) An
unusual column of text in front begins with an
address to the king by the sixth hour of the night ;
the hours are not knpwn to be personified like this
elsewhere. On the right hand of the plate the top
line refers to " the stars the fixed ones." Below are
two apparently Libyan figures, who seem to be spirits
which are called on to " give all power from Arren "
and " give all stability from Ha." These names are
perhaps unknown so far, as they do not appear in
Lanzone. (Cambridge.)
Below in the plate are a part of a stand of offer-
ings and two pieces of a scene of Khentamenti and
a goddess in a celestial boat amid the stars, with two
sons of Horus before it, and two similar figures which
probably followed it.
PI. xxix. The sculptures here hardly need any
notes ; the present places of those brought away are
as follows : the two groups of offerings to Cambridge
and Carlsberg ; the figure offering incense and the
block naming the menat and sistrum, also to Carlsberg.
PI. xxx. The top block on the right has
24
MEMPHIS
apparently the lower parts of the heads of Hathor on
poles ; the section showing the depth of relief is given
below them. Below that is the curious palimpsest
slab; the first inscription was apt astit llor; the
second tie uati se ankh ; the third is ina tef Ptah.
P'rom the style it seems that the first is of the xviiith
dynasty, the second of the xixtii, and the third may
be a re-use by Ramessu III or IV, judging by the
coarseness and depth of the cutting. (Manchester.)
The two figures of Taurt on the slab below are
unusual. At the base is part of a door jamb from
the tomb of the "scribe of the treasury of the lord of
both lands, Hora." The name and office are both so
usual about the xi.xth dynasty that the person cannot
be identified ; he might well be Hora with the same
title in a Turin papyrus under Ramessu II.
52. PI. xxxi. At the top is a group of gold work
which was found together, close to the north side of
the great dividing wall of the town, which continues
from the south face of the great temenos. This
group was about half-way from the temenos to the
east side, and below the level of the base of the great
wall. In the photograph the two large masses are
of very thin gold, filled up by a light porous plaster
body. The circles and connecting lines near the
ends are a degraded copy of Mykenaean long scroll
pattern. The gold earrings are of forms which were
used from 1200 B.C. onward. Probably the whole
group is of about 700 B.C. (Univ. Coll.)
Below is a group found to the north-east of the
previous, not far from the east edge of the mounds.
The date is about 550 u.c. by the punched Greek
coins which were strung with it. The open-work
silver beads at the top are like those of the xixth
d)'nasty, but simpler. The two gold earrings are
rather later in style than those above. The second
line is of heavy silver beads, multiple globules, or
hexagonal. The third and fourth line are of agate
of poor and late forms, together with the two coins
with square incuse reverses bearing traces of a type.
The middle figure is a silver one of Nefcr-atmu.
At the base is a small limestone stele of Apis.
The sacred bull, apparently mummified and couchant,
is in his shrine, of which the front and side are shown.
It is of open-work joinery of wood, with a cornice of
uraci. The .shrine is in a sacred bark placed upon
wheels, showing that this processional bark was drawn
about in the ceremonies. (Cambridge.) A well-pre-
served stele with the same subject is published in
the Monumens Divers.
At the left side are a limestone capital and band
of foliage, from the church south of the Ptah temenos.
These are the only remains of the building and date
it to about 520 A.D. on comparison with the work
of Theodoric, and the capitals of Mcrcurius at
S. Clemcnte. The foundations of this church were
formed of blocks from the temple of Ptah, which are
published in pis. x.xvii to xxx.
INDEX
Abd-ioviom, 22
Akhilion, stele of, 21
Altars of offerings, 21
for fire, 20
Apis, stele of, 24
Arren, a spirit, 23
Arsous, mummy of, 9
Art of portraits, decline in, 4
Atys figure, 20
Bandages of xiith dynasty inscribed, 22
Bandaging of mummies, 14-18
Baskets, 21
of lead, 20
Box with mummy, 20
Boys not willing to work, i
Bulls' skulls, 21
Burial of portrait mummies, 2, 3
in a surface chamber, 3
direction of, 4
Buttons on mummies, 5
Candle held by bust, 4
Canvas portraits, 3, 1 1
Caste mark, 14
Church at Memphis, 23, 24
Claudius, stele dated under, 22
Cloak-sellers' market, 22
Clothes, burial in, 19
Concave and convex mirrors, 20
Dated stele, 22
Dates of mummies, 12, 23
Decline of painting, 4
Decoration of mummies, history of, 3
Demetria, mummy of, 9, 16
Demetris, mummy of, 9, 1 5
Demotic inscriptions on mummies, 8, 22
Diodoros, 22
Dionysos lamp handle, 20
Direction of burial, 4
Dissevered bodies, 19
Earrings, forms of, 12
Epiphenius on portraits, 7
Euboulos, 22
Fayum, population of, 14
Fire altars, 20
Foot-case cast from feet, 4
gilt or plain, 5
Frame for portrait, 7
Gerzeh, i
Glass bottles with mummy, 20
cut, 20
Glaze, green and yellow, Roman, 3
Gold-foil on mummies, 14
Gold ornaments, late Mykenaean, 24
Ha, a spirit, 23
Hair-dressing, dates of, 12, 13
Hawara, i
Hayter, Mr. Angelo, i
Head of statue repaired, 21
Hermione, portrait of, 8
Heron Philosophoros, 8, 14
Hora scribe of the treasury, 24
Horus figure with mummy, 20
Horus with Horus figure, 20
Indian type, 14
Italian type, 14
Jewellery, 11, 12
Kephalion, 22
Khentamenti, figure of, 23
Kolophonian resin, 22
Labyrinth, i
Lead models of baskets, 20
25
26
INDEX
Limestone head repaired, 21
Macalistcr, Prof., 8
Macedonian t>pe, 14
Mackay, Mr. E., 1
Maspero, Sir Gaston, i
Mazghuneh, i
Memphis, i, 23, 24
Menandros, 22
Merops, poem on, 23
Milne, Mr. J, G., on papyri, 22, 23
Mirrors of tinned copper, 20
Mummies, at feast, 3
burial of, 2
bandaging in layers, 5
foot-cases and buttons on, 5
found with portraits, 4
heads preserved, 8
history of decoration, 3
kept in house, 2
painted cloths on, 15
red cloth covers of, 5, 15
re-used, 8
rewrappcd, 8
wrapping of, 14
Ox skulls, 21
Painting, methods of, 9
cleaning of, 7
from life, 7
on wooden panel, 9
on sketched outlines, 9
variations in, 10, 1 1
by the same artist, 1 1
with hatching, 1 1
Palimpsest on stone, 24
Plants examined, 16
Plastter repairs to statue, 21
Pole star bearing on dial, 21
Portraits, cleaning of, 7
cut down for mummy, 7
dates of, 12
decay of, 2, 6, 7
framed for hanging, 7
injuries to, 6
Portraits, kept in house, 2, 6, 7
life paintings, 7
materials of, 6
oil-saturated, 6
publication of, 2
quality of, 4, 5
rarity of, i
register of, 2, pi. .xxvi.
removed from mummies before burial, 8
treatment of, 6
women's earlier, 5
Ptah, scene of, 23
Pyramids builts over graves, 19
Race shown in portraits, 14
Rhombic bandaging, 14
Rice water as a preservative, 21
Sampa . . ., 22
Sandals, 20
Smith, Sir Cecil, 7, 9
Soukhas, stele of, 21
Spanish type, 14
Sphinx at Memphis, 23
Steles, 21, 22
Stopford, Mr. James, i
Stucco coverings of mummies, 1 5
Sundial, 20
Tablet with figures, 20
Teachers' names preserved, 9
Theodosius, coin of, 20
Thompson, Sir Herbert, 8
Tinned copper mirrors, 20
Tombs built, 3, 19
groups of, 19
Toys, group with girl, 20
Twins, stele of, 21
Varnish, on some portraits, 6
Wainwright, Mr. G., i
Weaving of linen, 18
Wedge-faced mummies, 4
Wrapping of mummies, 14-18
Wreaths examined, 15
PriHUJ h HauU, Wmttm <5- Vixtf, Ld., Ltndtn and AyUthtry.
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'^^ :^1 '■§
:r:..4 ^^ >*^^
HAWARA. PAINTED PORTRAITS, IInd CENT. A.D.
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HAWARA, 1888. PAINTED PORTRAITS, IInd CENT. A.D.
IX.
HAWARA. GILT MUIVUVIIES. INSCRIPTION. HEAD AND FOOT CASES.
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HAWARA. WRAPPING OF MUMMIES. WREATHS. FOOT CASE.
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HAWARA. GROUP OF GIRL WITH TOYS.
XIV
HAWARA. GROUPS OF POTTERY.
XV
INSIDE JAR.
GROUP OF FIGURES.
HAWARA. GROUP 1 -9. POTTERY. SUNDIAL. BASKETS.
XVI
HAWARA. TOMB WITH CENOTAPH AND PYRAMIDS. XVII
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HAWARA. LIMESTONE FIGURE. HEADS OF OXEN. ALTARS.
XIX
HAWARA. LIMESTONE HEAD AND INSCRIPTIONS.
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HAWARA. POTTERY. ROMAN.
XXV.
11
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A-GH-
HAWARA. CATALOGUE OF PORTRAIT MUMMIES.
XXVI.
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1:10
MEMPHIS. SCENE OF RAMESSU II AND PTAH.
XXVII.
A.G.H.
1:10
MEMPHIS. SCENES OF RAMESSU II.
XXVIII.
A.G.H.
1:10
MEMPHIS. BLOCKS FROM PTAH TEMPLE.
XXIX.
1 :10
MEMPHIS. BLOCKS FROM PTAH TEMPLE.
XXX.
AG H.
MEMPHIS. JEWELLERY, APIS STELE, CHURCH SCULPTURE.
XXXI
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SITES OF WORK OF THE EGYPTIAN RESEARCH ACCOUNT AND FLINDERS PETRIE. XXXII.
y^S^
Nan k yati^c
SccL-i-C of
BritiSfh MiUs.
1-0
rEAR,
PLACE-
VOLUMES.
1861-!?
GIZEH. ABU ROWASH
PYRAMIDS AND TEMPLES OF G1ZEH
1884
TANIS
TANIS 1, AND 11
ie8&
NAUKRATIS
NAUKRATIS r
1686
NEBESHEH
DAf>HNAE
TANIS II
1887
ASWAN
DAHSHUR
SEASON IN EGYPT
t888
BtAHMU
ARSINOE
HAWARA. BIAHMU. AND ARSINOE
1688-9
HAWARA
1889-90
KAHUN
KAHUN. GUROB, AND HAWARA
1869-90
GUROB
1890
EL LAHUN
EL LAHUN. KAHUN. AND GUROB
te9i
MEYOUM
MEDUM,
len
TELL EL AMARNA
TELL EL AMARNA.
1804
KOPTOS
KOPTOS
1896
BALLAS
BALLAS AND NAQADEH
„
NAQADEH
isfia
THEBES
SIX TEMPLES AT THEBES
1890
RAMESSEUM
THE RAMESSEUM
t807
DESHASHEH
OXYRHYNKHOS
DESHASHEH
.,
EL KAB
EL KAB.
1898
DENOEREH
OENDEREH.
1898-9
HIERAKONPOLIS
HIERAKONPOLIS 1. AND II.
1899
DIOSPOLIS
DIOSPOLIS PARVA
1900
ABYDOS
ROYAL TOMBS 1., EL ARABAH,
1901
ROYAL TOMBS II.
toot
BEYT KHALLAF
MAHASNEH
MAHASNEH AND BET KHALLAF.
1902
ABYDOS TEMPLE
ABYDOS 1.
TEMPLE OF THE KINGS
1S03
ABYDOS II., THE OSIREION
t904
EHNASYA
BUTO
EHNASYA
10O4-6
SAQQAREH
SAQQARA MASTABAS 1 AND II.
190&
SERABIT AND MAGHAREH
RESEARCHES IN SINAI.
1906
TELL EL YEHUDIYEH
GOSHEN
RAMSES
SHAGHANBEH
HYKSOS AND ISRAELITE CITIES,
.
GHEYTA
1907
QIZEH
RIPEH
GIZEH AND RIFEH
"
HAGARSEH
BALYZEH
ZARABY
'■
1908
ATHRIBIS
ATHRieiS.
.
MEMPHIS
MEMPHIS 1.
1QO0
QURNEH
QURNEH.
.
MEMPHIS
MEMPHIS II.
1910
MEYDUM
MEMPHIS
MEYDUM AND MEMPHIS.
1911
HAWARA
MEMPHIS
ROMAN PORTRAITS MEMPHIS IV
,,
QERZEH
GERZEH, THE LABYRINTH & MAZGHU
_
LABYRINTH
-
„
MAZGHUNEH
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